#015: Speaking in Code
eatz is shifting into full gear, and this time we’ve got new reviews from Ada, Rub 'n' Tug, Kaos, Electronic Resistance, Goat Dance, and Kirk Degiorgio, as well as the latest releases from Freude am Tanzen, Wagon Repair, Poker Flat, Trapez, and Kompakt’s K2. But first, we’re very excited to have an interview with sQuare Productions’ Amy Grill, director and producer of the upcoming techno documentary Speaking in Code.
So, Amy, you’re making a movie about electronic music. Why?
Speaking in Code is a techno movie that’s not really about techno. It’s about people. It is a feature length character driven documentary that follows a global cast of underground electronic music writers, DJs, producers, and label heads as they survive and thrive in the digital age.
Within the indie electronic music community there are many compelling characters. By tracking these characters Speaking in Code discovers some very human truths about subculture, independence, DIY determination, risk, obsession, and eccentricity.
The music (and the ‘minimal’ scene) is a colorful, captivating backdrop and binding force for several intersecting character driven stories—the film has a narrative arc to it based on the life changes and exciting, even funny moments that happen over the course of the year and a half that we will have spent making the film and following these people.
There are a lot of electronic music documentaries out there that have attempted to do one of a few things: capture the spirit of rave culture, survey a specific genre of electronic music, engage the viewer in DJ worship and/or crazy laser light fascination, or make some kind of grand statement about the significance of electronic music, but this film is nothing like any of that.
We are interested in exploring personality, motivation, and getting beyond the surface-y, questions and answers. The film invites the viewer in to experience ‘being there’—at the club, in the studio, in a forest, climbing a hill on the way to see chalk mines, visiting moms in the suburbs, driving through a white-out snow storm, performing at a huge festival, entering the secret underground club or illegal party, and on and on. We have unprecedented access and we get very close with the main characters in the film.
We want to surprise people and perhaps change their minds about electronic music or at least open their minds and show them something they didn’t expect. This movie isn’t just for the techno heads, it’s for the hip old ladies who love character-driven art house documentaries too.
What about 2005/2006 strikes you as the right time for this sort of film?
A film like this could have been made 10 or 20 years ago and although some of the themes and characters would have a different tone and purpose—many similarities would still exist.
There is something special about right now though—from a big picture historical perspective we are seeing the effects of the digital age that make advanced communication and sound technology very accessible. This has strengthened the possibilities for independent music and subculture and our main characters are living proof.
From a more localized perspective on the minimal scene and our characters—over the last year or two minimal techno has arguably become the dominant sub-genre in techno and it has been fun to explore the personalities in the minimal scene and experience the music’s rise in popularity vicariously through our characters. Of course, it’s difficult to even know what minimal really is: is it a sound, an aesthetic, a lifestyle, a hairstyle, a look, or all those things combined perhaps? Some of the characters can’t even be described as minimal at all, but they are somehow minimal by association or connection to the minimal scene. Musings aside, I have to emphasize this is not the “what is minimal techno?” film. I’m sure there is a DVD project like that on the way soon, but we aren’t the one’s making it.
Where all have you traveled to get footage for the film?
We’ve been all over: Montreal, San Francisco, New York, Boston (I live in Boston), Barcelona, Berlin, Hamburg, Cologne, Jena, Amsterdam, Miami…
Most of the film has been shot—what techno celebs can we expect in the final cut?
Well, we’ve shot 217 hours of footage since we began production in May of 2005 and we hope to cull all of that into a feature-length film, so I hesitate to list everyone at this point, but certainly you can expect to see a lot from these people:
Robert Henke aka Monolake (co-creator Ableton Live)
Modeselektor, Bpitch Control
Ellen Allien, Bpitch Control
Wighnomy Brothers, Freude-Am-Tanzen
Bryan Kasenic (minimal techno promoter in NY)
Jimmy Johnson (owner of Forced Exposure)
Philip Sherburne (writer, DJ)
David Day (Label Manager and Marketing Director at Forced Exposure, DJ, writer, promoter)
Mike Uzzi aka Smartypants, Unlocked Groove
Dan Paluska aka Six Million Dollar Dan, Unlocked Groove
Tobias Thomas, Kompakt
David Prince, M3 Summit
Interviews / Appearances (it remains to be seen whether or not all of these people will make the final cut and we have interviewed many more people not included in this list to help us round out the story):
The Juan Maclean
Any surprising anecdotes that you can share with us (Vitalic actually is a robot, etc.)?
Too many stories to even tell. The whole film is like one big surprising anecdote, but a surprising anecdote with a point. ;)
What kind of role has Philip Sherburne played?
Philip is a character in the movie, and as a co-producer he has been part tour guide, advisor, consultant, and friend throughout the entire process.
Tell me about financing something like this—what sources are you relying on to keep it going?
Plastic, lots of plastic (as in credit cards) and a handful of small private investors and a community of online supporters—although we are nearing the end of our credit limits and this last Europe trip tapped most of the small investments. So we are now really relying on grassroots fundraising online and also an upcoming benefit/screening/art party/happening here in Boston on August 26 at the sQuareone studio space in Fort Point / South Boston (New England’s oldest and largest artist community). We want to stay away from corporate sponsorship, so we are hoping that people who want to see the film made will help us make it. Anyone can donate any amount on our website—we are offering screen credit in the film for any donation of $50 or more. The grassroots efforts are to make the film mirror the DIY attitudes you’ll see in the documentary.
We are also seeking a film producer to help us cultivate prospective investors and help manage the business end of the film…and most importantly we are looking for investors—big and small.
We need another 25K in the very immediate future to finish production in the fall (Camera and equipment rentals, bus/train/plane tickets, gas, tape stock, the Director of Photography’s day rate) and also to purchase a G5 and enough drive storage (several terabytes) to be able to cut the film. We are currently hobbling along with my laptop and a few Lacie Hard Drives. We also need to be able to pay an assistant editor to log the tapes.
It isn’t cheap making a film—especially when the locations are all over the world …even if we eat on the cheap and stay with friends when we can. And, now Scott (our Director of Photography) is paid—he volunteered for a full year, but it is important to start paying him. Fortunately the most expensive part of the production is out of the way—we can see the light at the end of the tunnel—we just need a little more funding to get through the last few months of production and post production.
When do you hope to have the whole thing done?
By May 2007. Then begins the festival circuit and search for distribution. We would like to see the film get international and domestic theatrical distribution, some broadcast play abroad, and a DVD release too—with lots of extras for the collector type.
Speaking in Code @ MySpace
Photos from Speaking in Code’s Production
Contribute to sQuare Productions
Såhkåtek / SAK 006
Karim Sahraoui (AKA Djinxx) returns under his Electronic Resistance moniker for more Detroit-inspired techno stuff, this time augmented by two actual Detroit producers on remix duties—Gary “Teknotika” Martin and Claude Young. Sahraoui’s up-tempo original stays true to his D-Town influences with atmospheric synth pads floating behind sizzling hi-hats and a bouncing bass riff. To say it sounds like it was recorded in 1991 is a compliment. Martin and Young head to distinctly different regions of Area Code 313, with Martin taking a ride through the sleazy side of town with some clattering percussion and a lowdown sax bleat, while Young goes to Nirvana by mellowing things out, pumping the atmospherics up to 11 before kicking into a groove so laid back and jazzy, it’s practically horizontal. Detroit doesn’t produce nearly enough records in this style these days; it’s nice to see someone else picking up the baton.
Hemmann & Kaden
Freude Am Tanzen / FAT 027
Ronan Fitzgerald: These guys are probably beyond the “one to watch” zone and are revelling in the green pastures of the arrivals field by now, and this 12” is further fuel to the fire of their growing popularity. You can curse the addictive melodies of dub infused emo house all you want, but there’s no denying that it is capturing the imagination of producers and fans quite effortlessly. And, for the moment at least, it remains pretty compelling, as the magical, melancholy “Roll in Moll” will attest. It’s got a bassline that is evocative of “Hand to Phone”-era Adult melting underneath some dreamy chords. Kompakt must wish they still released tunes like this. “Corroboree,” on the flip, is completely different, a good slab of bass heavy minimal house in the Mobilee/Einmaleins style.
Cameron Octigan: Opener “Roll in Moll” slides in a deep, arpeggiated Vitalic style before bringing in an unexpected electric piano that coaxes the track down from late night heights. The momentum and mood somehow remain straight-faced enough to bridge two seemingly different sound palettes; a restrained Pascal Arbez-Nicolas and a ravier Frankie Knuckles. With fewer layers, and greater attention paid to the percussive aspects, “Corroboree” brings the night closer to climax. Losing the heavy push towards harmony and anthemics, Hemmann & Kaden offer a track that is much, much different. By the time the song is over, there have been so many different ideas thrown on the wall that you’ll think Sally Field’s Sybil was behind it. Then again, if Sybil could make this, then I say let her go crazy.
A Close Shave
REKIDS / REKIDS 003
Colin James Nagy: Toby Tobias’ debut on Radio Slave’s Rekids label strikes me as being excessively stiff, but not in the deliberate, Kraftwerk-ian sense. It starts off with a rigid, mechanical percussion loop and adds layers of synth arpeggios that are stacked in a linear, building block fashion that comes across a bit too rudimentary. Opt for the remix on the flip, where Prins Thomas strips away the clutter, blurs and softens the tones, all the while brushing the track with his organic, space-disco vibe. It's not his finest remix, but one certainly worthy of merit and a considerable improvement over the original.
Mallory O’Donnell: On first listen this struck me as bumping well enough, but too caught up in polyrhthmic clackity-clunk for the dancefloor. But that was foolish of me—the layers of percussion here are beautifully balanced against an enormous, swelling, crystal clear analog that echoes in and out, enveloping the funk. As for the remix—while we're experiencing this turbulence, remember that in the event of over-stimulation your seat cushion may be used as a floatation device. As we begin our ascent, please bring your legs, your arms, and your hips into the upright and flailing-about-the-cabin position. Thank you for flying Prins Thomas Intergalactic.
Wagon Repair / WAG 014
Hector Rodriguez: Being unaware of this side project of Mathew Jonson’s, I cracked it open expecting something along the lines of his slamming electro fuelled tracks, but I could not have been more wrong: it’s fuelled by a more jazzy, vaguely Detroit groove. The B side, “Peace Offering,” is the highlight. An electronic bass line with a simple break provides a foundation, which is punctuated with the occasional reverb soaked keyboard flourish. It works well as anticipation for some incredible jazz inspired keyboard work by band member Tyger Dhula. It’s the kind of track that could easily be slipped into a Lindstrom set, especially as a bridge to something a little more forceful.
Nick Sylvester: Apparently Cobblestone Jazz privilege heart over head, are bringing back improvisation to dance music composition, all that... I dunno. Of the three CJ guys I only know Mathew Jonson's work, but after seeing two monster Ableton sets of his in Montreal a year ago I'm willing to bite. "Dump Truck" has all the makings of Moodymann redux but then somebody in CJ decided to get his glitch on (his words not mine), somebody decided to throw down a boxed Eurohouse progression, somebody decided to over-vocode a bad female vox hook—so the less said the better. A better time can be had on the flip. "Peace Offering," if you remember the no-man's-land minute between LCD Soundsystem’s "Yeah" (the song) and LCD Soundsystem’s "Yeah" (the indulgent acid-house freakout), sounds exactly like that for eleven minutes. It's a ticking bomb set to rock drums, and it never blows out, not even when CJ add more percussion or trigger (old Herbie?) jazz-funk keyboard riffs in succession. It could have been a "Yeah" disco edit, but there's no fun in that, which might be the larger lesson here.
Bear Entertainment / BE011
Hector Rodriguez: Goat Dance is a side project of Chicken Lips member Dean Meredith. While recent Chicken Lips material hasn’t quite sit right with me, this EP, particular the lead cut “Sizzle,” has been a staple from the moment I heard it. The sound is a plodding disco-dub with a sprinkling of cosmic keys, rock dynamics, and chicken scratch guitar. In contrast to the clean shimmering disco of someone like Prins Thomas this makes me think more of New York City: dirty funky sounds for ass shaking, where you can almost see the sweat on the walls.
Nick Sylvester: This may not be my favorite neo-disco-funk slowburn 2K6, but it might be the weirdest, so uncool it's coolest, etc. On the title track, every sound seems off, as if Goat Dance recorded a straightforward Moroder rip, slowed it down 40BPM, then tweaked notes first a quarter sharp and the next a quarter flat. Hi-hats don't snap, they sandpaper, and the echo treatment on the drums turns this uptight march into a drunk amble. Goat Dance friend Adrian McLaughlin offers an over-processed maximum pomp guitar solo for the otherwise minimal effort, a nice enough reminder that over-processed maximum pomp guitar solos are not funk-antithetical, i.e. Maggot Brain totally exists. "High Voltage" takes a minute to kick out similar slow funk, and also like "Sizzle" all the tuning's off, so the bass call and synth responses up the octaves are infuriating and grand in a post-post-punk fake-DIY kind of way. Who knew machines were capable of such glorious fuckups?
Heckmann & Kauffelt
Kookaburra / Klapperspecht
Acid Fuckers Unite (A.F.U.) / AFULTD05
Some DJs (me) have dubbed this the thinking man’s “The Whistler,” such is its conceptual similarity to Claude Vonstroke’s wacky smash. Yet thinking can be highly overrated. The gimmick here on the title cut is a kookaburra (an Australian bird) screeching frenetic acid lines over a jacking beat. A touch of “Gehts Noch?” doesn’t spoil the party, and this peak-time record comes with pretty universal appeal. B-side “Klapperspecht” is also quite animalistic with a consistent elastic bassline on the off-beat. Despite a sorry absence of bird or jungle noises, it nicely caps off one of the year’s great 12”’s.
Rub N Tug
Better With a Spoonful of Leather Vol. 2
aNYthing / ANY006-CD
Rub N Tug’s previous mixes were recorded live, complete with shitty mixing, fuzzed out sound, and skull-fucking EQ—the good stuff—but this one takes a different approach, possibly because a third disc with corny mixer FX would be one too many. Instead we get a pristine and minimally mixed set of electronic disco 45s slowed to 33, including Gino Soccio, Soft Cell, and err, King Crimson. The tracks are less “chopped and screwed” than edited and cosmic-fied: it’s bad pills, not heavy syrup. At its best, beats string loosely together like solar systems, with reverb draped around them like rings; drawled out sax lines might as well be monophonic synths and guitars sound like beached whales. At its worst you might be begging to push the pitch control back to zero. Overall, this is one for those gross, sweaty nights post-clubbing where the only way to get through it is to make one’s-self feel worse. I’m sure we’ve all had some of those.
Rong / RONG 014
Some critics accused Berlin’s DJ Kaos of being a trendy hack that merely regurgitated the hippest and most lucrative retro disco sounds of 2004 into his debut album, Hello Stranger. And, yes, his 13-minute, space-disco jaunt “Cerebal Tremolo” may resemble a lost LCD Soundsystem b-side, but I doubt anybody would care less after the booze flows and they’re surrounded by fifty horny people crammed into a bedroom. The full-length single delivers a lot of what you’d expect: a cigarette-stained bassline, star shower synths, DFA-issued cowbells, a stumbling wah-wah guitar, and vocals that serenade while face-first into a pillow. A re-edit by Brennan Green and Salvatore Principato (from NYC’s immortal psych-funk unit Liquid Liquid) thankfully cuts “Cerebral’s” excess in half, making the song punchier and livelier. Khan’s remix is a rather generic acid-techno number that stamps to a thudding electro-beat, spell-casting synth bloops, and Khan’s own sexless huffing.
Call the Tune
Areal / Areal038
If Ada's last 12” began as an ode to asphalt, it certainly didn't end that way, with a conclusion of rising chimes instead of a driving backbeat. "Call The Tune" ends no differently. Beginning with a billowing Carpenters-esque sound-bed, Ada charms the song out of its inertia, weaving see-saws into tightly-wound cathedral bells and lucid sirens. Her light touch leaves the cacophony refreshing instead of overwhelming and a similar feeling also graces the B-side. Build around a lawn sprinkler hi-hat, "Living It Up" splashes tinkling synths, cascading distortion, and an odd ball of fuzz to make sure you're still paying attention. Straddling the gap between electro-pop and electro-shlock, Ada makes sure not to touch down fully on either side.
[Nate De Young]
Freerange / FR073
Considering his pedigree and genre-hopping, Kirk Degiorgio keeps a relatively low profile, which is a shame really. The man has made many a killer cut over the years and had a hand in the pioneering stages of many important labels and careers. But when was the last time you heard anyone mention his name, if ever? His latest release as Esoterik likely won’t go a long way to changing that, and that too, is a shame. Degiorgio’s original is a mellow Detroit-inspired track reminiscent of some of Juan Atkins’ smoother work as Model 500, among others, with big synth washes and a pulsing hi-hat pushing the groove along in that wonderful Motor City-by-way-of-Mars style. The Jimpster remix pops a bit harder, stripping things down and adding some cut-up voice and slap-bass snatches for a funky good time, while Spirit Catcher gets all retro dsico by way of a clipped synth riff and some seriously tweaked vocals. Sleep on him no longer.
Focus On Guido Schneider
Poker Flat / PFR CD 17
Berlin-based Guido Schneider’s first full-length is also the first in the new Focus On artist-album concept series on Poker Flat. The CD version features Schneider mixing his own recent tracks (including “Sideways,” his fab collab with Sammy Dee, remixes for Brtschitsch & Galluzzi and Daniel Stefanik, and singles on Poker Flat and Tuning Spork) into a seamless portrait of his recent work. The LP version features only the exclusive new Schneider cuts from the CD, which more than stand on their own. The prospect of an artist mixing all his own tracks may sound a bit lame, but when the grooves are as diverse as Schneider’s, it hardly matters. Schneider’s catalog has been consistently great, but presented together like this, it takes on a whole new weight and depth. Bravo to Poker Flat for the concept—who’s up next?
Trapez / Trapez LTD 046
Berry’s new EP ‘starts from a sine wave’ and moves quickly in five directions. “Losttime,” the A-side, sounds somewhere between the growl and twitter of some of Gaiser’s recent tracks and a more purposive reworking of Villalobos’ “Bahaha Hahi.” It’s atmospheric, but its patterns never manage to come together, explode, or fall apart like the anticlimactic break keeps threatening they might, and as a result the track not only loses time, but energy. I kept expecting some of the sublime malfunctions of “Filtertet 2” to show up, but I ended up with two cans full of menacing stutter and a half smile. “Freed” is another beast altogether—the power of two tracks fused into a third. It starts off with a three-minute percussive intro not dissimilar to Guido Schneider in a bad mood or Alex Smoke in a good one. The track limbers up and morphs into an arpeggio driven builder that pounds and snarls its way toward dancefloor destruction. I’ll be damned if I didn’t find myself starting to dance on the train.
Simply Driving Gold
Hello? Repeat / Hello004
Marcus Manowski’s work as Daze Maxim first scribbled his funky moniker in the margins of my techno soundmap with “Scirocco,” his misbehaving number on Cocoon’s Compilation B. More recently I was (softly) floored by his Heartz4 track “Intimacy Girl,” which crops up au naturel on Lawrence’s recent sublime Groove Magazine mix and also in remixed form on Steve Bug’s not-as-great Bugnology 2 mix. What’s striking about Manowski’s recent work is how calm it is, in contrast to the frenetic old stuff. Without recourse to plug-in gimmicks or gratuitous reverb, Maxim’s EP sounds like what it is: “Simply Driving Gold.” This is jack, folks, but the kind you stick in your socket—warm digitalia whose subtle shimmy should find its way from your shuffling feet to your box. If you were as crazy about Kalabrese’s “Chicken Fried Rice” as I was, you’re onto a winner here. The vocals here don’t so much as bare their feelings as mumble them sporadically. I imagine Jamie Liddell carries on like this while he’s vacuuming the dust in his studio. “Affectant,” the B, is another fine understatement accompanied by mumbled subsense, with a big soft clap that smacks you right across your booty. Nice.
K2 / K2/13
“Wherefore art though Kompakt bangers?” To thread: “Skip Tutorial” bends and breaks over a phantasmic pulse. Heavy reverb and disintegrating beats run throughout along a synthesized Rhodes. On the other side, “Sloensje” brings the listener back closer to the K2’s usual output, if only a little. Gatzigristos privileges melody and sound over movement, an approach perhaps more admirable on headphones. But with the mix trend towards Hawtin and Magda’s liquidating of contemporary techno’s most valuable assets into 30 second clips, someone can easily find that much peak time here.
Trapez / Trapez 066
Side A here is a funky little number, happily riding along the line between tech and minimal; the sound palette is stark enough, but the presentation, the way the actual melody works with the beat, says tech—as does the jumpy little filtered synth that steps in at about three minutes. Side B, “Sleepless,” on the other hand is the story of a dubby little bassline wandering the streets late at night, never straying too far from a path underneath the overhead rail system. Finally, too tired to walk, too awake to sleep, our friend Dubby gets on the rail and heads home. By the end, Slg comes off as being perhaps too funky for Trapez, but glitchy enough to keep techheads happy.
Eskimo Recordings / 541416 501502
Superb reissue from Eskimo—crouched comfortably in Flying Lizards / Ze Records funky netherworld-of-the-dancefloor. Lovely proto-house piano washes and quirkily charming half-spoken, yearning vocals make for the best Belgian gospel-tinged indie disco track you'll hear all year! Lindstrom & Prins Thomas do the right thing here—find the jazz in the original instrumental, stretch it out and catch those tingling keys in it like baubles in a net. They just do it for a bit too long—like the DFA, they still need to learn that not every song needs to be 12 minutes long.
Twentyfive 6 Four
Clone / Cx22
Applause for Clone Records, who had smarts enough to drop this electro-pop twelve when the iron was both hot and chip. Applegarden spell out Chicago homage, but to be honest I couldn't catch any samples, and the un-FX'd all-dude hooks bring to mind Parliament, Electric Six more, Datarock especially. The difference, where those groups (and Hot Chip) have songs, Applegarden have but one groove in "Twentyfive," a bassline doing off-center octaves, its relentless drive in the just-off pitch. On the A-side, labelmates Putsch 79 add a female hook and instrument mirror to dilute the song's testosterone, but best bets are on the B: the original mix first, then the conga-fied "Armageddon," whose falsetto melody and synth response comprise the best Hot Chip lick never written.
In the Mix: Todd Burns
01. Goldfrapp - Fly Me Away [Mute]
02. Northern Lite - Cocaine [ARMUT24]
03. Cassius - Jack Rock [Virgin]
04. Maderfotor - Scissor [Ware]
05. Basteroid - Meteorchester [Areal]
06. Petter - Some Polyphony [Border Community]
07. Stephan Bodzin - Kerosene [Herzblut]
08. Jesse Somfay - Tonight's Frail Desire [Budenzauber Recordings]
09. Tigercity - Are You Sensation? (Crambe Repetita Mix) [Igottarun]
Ada - Living It Up [Areal]
Luca Bacchetti – Out of Breath [Tenax]
Hemmann & Kaden – Roll in Moll [Freude am Tanzen]
Lawrence - Place to Be [Liebe]
Louderbach – Reflected [Underl_ne]
Magda – She’s a Dancing Machine [M_nus]
Misc. – Tanz Der Polymere [Sender]
Reverso 68 - Tokyo Disko [Eskimo]
Various Artists - Cocoon Compilation F [Cocoon]
Wighnomy Bros. - Dukktus [Freude am Tanzen]
Future/Past - Jam Packed [Applied Rhythmic Technology]
Sammy Dee & Guido Schneider - Styleways [Poker Flat]
Kayot - Clear Sky (Main Mix) [Buzzin’ Fly]
Paradroid - Faked Moon Landing (Fym Remix) [Force Inc.]
Justus Köhncke - Advance [Kompakt]
Antonelli Electr. - Snowflake Funk [Level]
Pig & Dan - 4 Leaf Clover [Cocoon]
Carl Craig - Darkness (Max Mix) [Planet E]
Magda - She’s a Dancing Machine [Minus]
The Knife - Silent Shout (Troy Pierce Barado en Locombia Mix) [Rabid/Brille/Mute]
Booka Shade - Paper Moon [Get Physical]
Junior Boys - In the Morning [Domino]
CSS - Let's Make Love & Listen Death from Above (Spank Rock Remix) [Sub Pop]
808 State - San FranCisco [Tommy Boy]
Applegarden - Twentyfive 6 Four (Putsch '79 Remix) [Clone]
Toby Tobias - A Close Shave (Prins Thomas Disko-Tek Miks) [REKIDS]
Allez Allez - Allez Allez [Eskimo]
Cassie Vs. Ice-T - Girls LM&UGBNAF; (Various Bootlegs) [Aristo-Camille]
Michael F. Gill
Arsenal feat. Jhelisa Anderson - Far Have I Come [Cottage]
Telex - L'amour Toujours [Interdisc]
Sally Shapiro - I'll Be By Your Side [Diskokaine]
IMS - Dancing Therapy [Ballaphon / Emergency]
Cassy - Alexandra / Toyah [Cassy]
Swat-Squad - Shared [Galaktika]
Paul Johnson - I Need You [Motus Music]
Troy Brown - Feel Allright [Aquarius Recordings]
Sandy Kerr - Thug Rock [High Fashion]
Rene & Angela - I Love You More [Capitol]
By: Stylus Staff
Published on: 2006-08-11