Name: Session 3 KiNK 1998 by KiNK
Duration: 4 min 36 s
Description: Sessions 3-5 engineered and recorded by Strahil Velchev "KiNK" in 1998, at a law office at the hours after work. Sessions 1-2 engineered by Konstantin Petrov "KEi" at his flat, recorded by KiNK and KEi in 1998. Gear used for the sessions: a PC, Jeskola Buzz software, cassette recorder and computer speakers or a home stereo.

flowinnn ' ! great job as usual , awesome artist 

These are awesome! Any chance of a re-upload? The DL link isn't working.

Model 500 - Starlight
Label:Metroplex
Catalog#:M-024
Format:Vinyl, 12", 45 RPM
Country:US
Released:1995
Genre:Electronic
Style:Techno, Minimal

Model 500 - Starlight (Moritz Mix Aka Maurizio Remix 1995)

Label : Absurd Recordings
Format : Vinyl, 12" 
Country : US
Released : September 2013
Genre : Electronic
Style : Acid Techno

Tin Man - Mystified Acid

Label: Sound Signature ‎- SS004
Style: Deep House
Country: USA
Year: 1998

I do not own the rights, and simply wish to share this great track!
If the owner wishes for this track to be removed, send me a message and I will immediately.


Theo Parrish - Dusty Cabinets

jazzy vocals and instruments with a catchy thumpy bassline... what could go wrong?

"What You've Done"

Sessions 3-5 engineered and recorded by Strahil Velchev "KiNK" in 1998, at a law office at the hours after work. Sessions 1-2 engineered by Konstantin Petrov "KEi" at his flat, recorded by KiNK and KEi in 1998. Gear used for the sessions: a PC, Jeskola Buzz software, cassette recorder and computer speakers or a home stereo.

Session 3 KiNK 1998

Out Now @shops worldwide on Acacia Records Us
https://www.youtube.com/watch?v=2NVayKlY11c

Purchase 12"

K-HAND Boiler Room Teaser

Paranoid London - Give Me The / Our Man Though - PDW001
A - Give Me The 
B - Our Man Though

Release Date : Mid December

Dodgy white label number 1 from your favourite grumpy old shit sticks is a couple of low rent, don’t do much ass shakers from the vaults. Give Me The was made in 2007 & let’s DJ’s get on with what they love doing ….. mixing the hell out repetitive records.
Our Man Though may, or may not, be heavily sliced out of something else & rearranged into dancer paradise from the shards left over.

Give  Me The / Our Man Though - PDW001

M04a

M-Series

M05a (Edit)

"MD 2.7" by @mike-dehnert, featuring the track "MD2.7.1", will be released on March 11th through @fachwerk-records -sublabel MD2. More info: bit.ly/M2Dehnert

MD 2.7

MD 2.7.1

Mike Dehnert - MD2.7.1

Blake Baxter - When A Thought Becomes You

KiNK has become one of house music’s most in demand producers and remixers: his tracks easily stand out in any club night and they are second to none in the most competitive environment electronic music has ever seen. His abilities in finding the ‘sweet spot’ of new machines and even of sounds considered ‘classic’ and to reshape them into totally different beasts would be totally enough to justify the phenomenon. Yet this barely touches the surface of the story.

Arguably the world of dance music has not witnessed anyone else rising so clearly from bottom to top just by the centrifugal force of sheer talent. Being based in Sofia, Bulgaria, without a support network, a campaign or any media hype, his music alone – live and in the studio – created a momentum whose end we have yet to see.

Having met Neville Watson over the internet, he first gained recognition with the duo’s collaborative releases on Amsterdam’s Rush Hour. “Inside Out” and “Full Flight” were huge records in 2008 already, but it was an unassuming video of KiNK tweaking a drum machine at home that landed him a gig at Berlin’s ever emblematic Panorama Bar. This also hints at what set him on a trail of live sets that took him to #1 on Resident Advisor’s poll in 2015. By today, he has played the world several times over.

Thus, KiNK’s live sets hold the key to understanding how he creates unparalleled enthusiasm on stage and through his studio output. By now, a guy with a laptop has become the most common sight in a club. Yet the visual discrepancy between the dynamics of sound and the statics of a mouse click has driven most ambitious live acts to sideshow tricks: visuals, LED screens, compensatory dancing – smoke and mirrors. By contrast, KiNK’s live sets simply take the hood off – strictly in terms of sound. A small set up of machines and controllers is all there is, but every knob turned produces an audible result. Often he will pass a machine to the audience and incorporate their input in real time. This happens at mind-boggling speed. Hyperactive, yet holding down grooves to kill for. KiNK’s ability to nail smash beats on the fly, well visibly and audibly, that most people couldn’t program in weeks of studio work – this ‘credibility of sound’ right where it matters is what sparks the love everywhere he visits.

Session 3 KiNK 1998

KiNK

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FuNk ki-10

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