Live recording from trü skül sessions volume 1 - kimyon and fred the animal @ groove jet may 2002

A consummate DJ and promoter since the mid-90s, over the intervening 25 years Kimyon Huggins has risen again to renewed notice for his dedication in the area that  set him on his journey. Originating in Dayton,Ohio as the raves were starting to spread across the Midwest from their beginnings in Detroit and Chicago, Kimyon wasted no time in becoming involved in the burgeoning movement both as a DJ and as a promoter, starting in 1996 bringing in names like Derrick Carter, Paul Johnson, MIke Dearborn, Stacey Pullen and Rob Hood for early appearances. By 1999 he had moved to New York and started afresh, beginning with his Trü Skül events and moving into Pockit Rockit as both resident and curator. The list of names, many of them legends already and many more to become future legends, is formidable: debuts for Theo Parrish, Herbert, Mike Huckaby, Norm Talley, Aux 88, Aril Brikha and others; noted appearances from Robert Hood, Suburban Knight, Dan Bell, Jay Denham, Ken Ishii, and New York talent such as Joey Beltram and Function.

By 2007 Kimyon was working with Juan Atkins, releasing the co-production in 2009 on New York’s All About Music,"Work for Money" followed by a release on Todd Terry’s In House label in 2010 with Danish songstress Naja Rosa. In 2011, he helped re-launch Atkins’ legendary Metroplex label, as a recording artist and then as director of label relations. The renewed activity yielded strong releases from Terrence Dixon as Population One, James Johnson as Plural, Atkins and Marc Ernestus as Audio Tech which Kimyon engineered and arranged, Model 500, and his own solo releases. 2015 saw Kimyon DJing Detroit’s Movement festival as part of an all-star lineup for the  Metroplex 30th Anniversary Showcase.  In the Fall of 2016 Huggins and Peter Hadar co wrote "Sky" on Armand Van Helden's album for Spinnin Records.

Kimyon has travelled internationally to perform in Germany, Belgium, Macedonia, Greece, The Dominican Republic and Thailand, also making regular national appearances in Miami and Los Angeles.  
As a visual artist, Kimyon has curated and shown in several exhibitions featuring fine art, performance art and musical performances.    
KImyon  has displayed large installations @ Good Units in The Hudson Hotel, The Yard @ The Soho Grand Hotel and The Maritime Hotel. As curator, Kimyon's imprint No Agenda has been producing multimedia art and music events under the title THE FUTURE IS NOW.  These events bridge the gap between established and emerging urban contemporary and street artists with premiere music talent in gallery settings, presenting the art and music on equal ground.  THE FUTURE IS NOW has been produced in New York, Miami and Detroit since its inception in 2011.  In 2013, THE FUTURE IS NOW amassed 70+ artists @ The Highline Loft in Chelsea to present a 4 day experience featuring visual and musical talent from around the world. 

No Agenda Recordings globally released its first ep Waiting/Forgiveness in May 2017.

Futureisnowexperience is a livestream show that Kimyon has developed that occurs every Sunday @ 3pm EST.  The show is an incarnation of the physical show and features weekly guest visual artists and djs while facilitating conversations about art, culture and current events.  Since its inception in September of 2020, dozens of artists and musicians have been featured.  The program is widening its reach by adding feeds of artist from their studios around the world. 

CHeck it out At www.futureisnowx.com or twitch.tv/futureisnowexperience

kimyon and fred the animal live @ groovejet

Episode 52 w/ Kimyon

1. Arnie’s Love - « I’m out of your life » - ASCAP
2. Kashif - « Help yourself to my love » - ARISTA
3. Ian Foster - « Out for the count » (extended mix - by Timmy Regisford 😊) - MCA
4. Gwen Guthrie - « Ain’t nothin’ goin’ on but the rent » (club mix edited by Larry Levan) - POLYGRAM
5. Danny Krivit and Kyle Smith remixes Kim English « It makes a difference (dub) » - NERVOUS
6. Gladys Knight and the pips - « Taste of Bitter Love » - CBS
 7. Boogie edits (Kano) - «She calls me » - GIANT CUTS
8. Touché - « Just like a door knob » - SPQR
9. Fonzi Thornton - «Berverly » co produced by Robert Wright - RCA
10. Temper - « no favors » (dub) - MCA
11. The backroom bandits - « You don’t know what love is » - White Label
12. Shaun Escoffery - « Days like this » (Spinna and ticklah mix) - Oyster

12 records from last set at Dante's Hifi

Karlainthemix @ Djoon for The Djoon Experience (Part 1) 18.11.23

Recorded live, no synchro
https://scruscru.bandcamp.com/
https://www.instagram.com/scruscru/
https://www.instagram.com/scruniversal.records/
All tracklist just down below
Tracklist
SCRUSCRU  --  Slightly Wiggle
SCRUSCRU  --  Fainéant
SCRUSCRU & MEOWSN  --  Fratelli Acquerelli
SCRUSCRU  --  Juicy Brass
SCRUSCRU  --   Jive Y'all
SCRUSCRU  --  Who Has The Jazz?
SCRUSCRU  --  Waka-no-ura Bay
SCRUSCRU  --  "Day Drifting"
SCRUSCRU  & Jehan  --  Teuf De Ouf
TREE THREES  --  Sunshine Miss (Scruscru Remix)
SCRUSCRU  --  Evening At Hanamachi
THE MECHANICAL MAN  --  Reality (Scruscru Remix)
SCRUSCRU & S. TIMOSHENKO  --  Jubilee Boulevard
MELBOURNE DRUM AUTHORITY  --  Think About You (Scruscru Remix)
SCRUSCRU, MEOWSN, WHATEVER  -- Fat That Track
DISCOMATIX  --  Kiula (Scruscru Remix)
SCRUSCRU, S. TIMOSHENKO  --  Climb On Board
SCRUSCRU  --  Looking Like A Fool (feat. Nazin)
PUNKY WASH  --  Rebecca's Mystery Mood (Scuscru Remix)
ART OF TONES  --  All Night (Scruscru Remix)
SCRUSCRU  --   Lawka Chudes
SCRUSCRU, PASHA BORISOV  --  LUV 303
SCRUSCRU & MEOWSN  --  Cool Party Tool
SWEET FRUITY BRUNCH  -  Red Parrot (Scruscru Mustplayable Remix)
SCRUSCRU & MIKE FOT  --  Lazy Daydreaming
SCRUSCRU  --  South Wind, Clear Sky
SCRUSCRU & INER  --  Three Gigs Night
INTROBEATZ  --  Local Fryer (Scruscru Remix)
WILL SONIC, SCRUSCRU  --  Dope House
SCRUSCRU & AMAN PO-KAIFU  --  Acid Salam
SCRUSCRU & GUYDEE  --  After Noor
T.MARKAKIS  --  Disco 2 Disco (Scruscru's Dub Mix)
SCRUSCRU & AMAN PO-KAIFU  --  Camel Ride  
Please support these artists by buying, streaming, sharing their music !!!

FOCUS on SCRUSCRU  mixed by K.Rise  Brussels January 2024 - Studio32

www.openlab.fm | 106.4FM in Ibiza & Formentera
Check the full tracklist on our website: https://openlab.fm/news/appetite-for-selection-170-charles-webster

Join Charles Webster this evening for this week’s edition of Appetite For selection, two hours of quality, blissed-out tunes featuring music from Olafur Arnalds, Huw Marc Bennett, Monde UFO, Mo Kolours, and many more amazing artists.

Download our App:
IOS: bit.ly/OLappApple
Android: bit.ly/OlAppAndroid

Appetite For Selection 170 - Charles Webster

Musical Metaphors - Mizell Brothers Special - 21.01.24

Hey, fellow time-traveller. If you are getting ready to go out or are planning to vibe at home….behold….my latest 'Journey Through' show for your listening pleasure. 
Another trip into the musical cosmos of my mind and ever-expanding music library. 
You are invited to feast on the aural delights and I will soothe your bruised soul and ignite the fire within. This episode is a special recording of my birthday set at The Hope in Windsor recently....Pt1.
Come and join us on the journey. I do hope you enjoy! xx
Hi-fidelity version of the episode here (if you are a bit of an audiophile):
https://www.mixcloud.com/ChadJackson/journey-through-68-radio-show-with-chad-jackson-hi-fidelity-version/

Journey Through - 68 Radio Show With Chad Jackson

Free Download

jessy blakemore - shiloh type beat (BAGO Liquid DNB Edit)

All tracks written, performed, mixed & produced by Bobby Signal. 

Recorded in Hackney, London, April 2018 - April 2019. 

Kit: Maschine Studio / Macbook / Technics 1200 / Pioneer DJM900. 
Mastered online via LANDR. 

For promotional use only. 

(c) Stonegroove Socials in association w/t Main Squeeze 2019
license

Switch Up (continuous mix)

To tie-in with my 200th blog post, this was the last mix I ever tape edited, putting it together on my original Revox B77 reel-to-reel, which I’d bought 14 years earlier, back in 1982. See the post with accompanying images at the blog:
http://www.gregwilson.co.uk/2012/11/the-monastic-mix/ 

THE MONASTIC MIX:
‘The Monastic Mix’ was very much a labour of love, gradually assembled in stages, as I bounced between reel-to-reel and DAT in order to add further textures. I did it in collaboration with a young DJ from Liverpool, Matt Shannon, who was into the Trip Hop / D’n’B vibes of the time, which I really liked myself, but didn’t have any of the records (I was, as you might say, on the bones of my arse brassic back then, so I wasn’t in the position to be buying anything other than the bare essentials). We fused Matt’s tunes with mainly older stuff from my own collection for the mix, which appeared on one side of a free cassette that was given away to everyone who attended the launch of 'The Monastery', an experimental monthly club night on Merseyside (plus a couple of Wednesday specials at London's 'Mars Bar' in conjunction with Microdot, the design company ran by Brian Cannon). We made things particularly difficult for ourselves, holding the night on a Sunday, and choosing an off the beaten track venue, Stairways, a Birkenhead Rock club, to which we bussed people through the Mersey Tunnel from Liverpool, as well as attracting others from The Wirral. However, despite all the drawbacks, we somehow managed to keep things afloat for the best part of a year, enjoying some great memories and much musical mayhem along the way.

‘The Monastery’ brought together a collective of DJ’s and musicians who were largely disillusioned with the local dance scene - Derek Kaye, Bernie Connor, DJ Trix, Phil Jones, Desa, Girls On Top, Phil Melia, Kerry Harrison, Ciaron Bell, Matt and myself all played our parts, doing it for the love rather than money, with Martin O’Shea (who, as it would work out, went on to manage the successful girl group, Atomic Kitten) promoting the nights. The basic premise was that we didn't go down the four-on-the-floor path, as this was being played pretty much everywhere else at the time, concentrating instead on groove-based music from the 60's to the 90's.  

Featuring Soul, Funk, Electro-Funk, Hip Hop, Indie-Dance, Trip Hop, Drum & Bass and more, ‘The Monastic Mix’ became cult listening for many of the people who got hold of the cassette, although I’m sure that others found it a bit too eclectic for the time and never gave it a second hearing. I’ve been told that it’s quite a demanding mix to listen to, dark in places and somewhat ‘druggy’ (‘one for the heads’ being a comment made about it back then). 

It’s close to my heart because it reflects my state of mind at the time it was made, which was pretty turbulent. Since my production work had ground to a halt a few years earlier, I was very much in no man’s land, completely detached from the music scene and with no means of expressing myself. I was still totally illiterate as far as computers were concerned and I remember feeling old and out of touch. There were moments when I wanted nothing more to do with the music industry, being punch drunk from the knocks I’d taken during recent years, but, having never had a ‘proper job’ in my life, I was pretty much in a catch 22 situation. I had no money and no prospects, life was passing me by and I was more or less washed out creatively. Suffice to say it was a very bleak period for me.

It was during this time that my friends, seeing how much I was struggling, were urging me to get back into deejaying, telling me that I could make good money by trading on my reputation of old. However, there was a big catch, which was that I’d have to decide what area of dance music to specialise in, which was an alien concept for me, having made my name playing the best of a whole range of styles, rather than just one narrow area. Thankfully (and I can only say this with hindsight) I resisted the temptation to take this option, which would have amounted to selling my DJ soul for a quick cash-in.

The idea behind The Monastery was planted in my mind by my friend, Kermit, who, following on from the Rap Assassins, had hooked-up with former Happy Mondays mainman Shaun Ryder to form the band Black Grape.  Just before they were about to do the final mixes on their debut album, ‘It’s Great When You’re Straight…Yeah’ (which would subsequently top the British charts), Kermit came to see me in Liverpool with a cassette of all their tracks. I was blown away with what they’d come up with, but it also served to highlight my own shortfallings. I commented that he’d done so much while I’d been wasting away at home doing nothing, but he told me that the time I was spending, in relative seclusion, with my music, books and videos, would prove to be time well spent. He likened my existence to being in a monastery – a comment that very much resonated within me and somehow gave me renewed hope for the future.

The following year, when the idea of a putting together a club night was put to me, I suggested it should be called The Monastery, with the music policy and presentation completely unlike anything else that was happening, combining DJ’s with live musicians. When it came to putting the mix together, I wanted to reference as many of my musical influences as I could, even if it only be a tiny snippet. I managed to cram a lot of them in and I can guarantee that, even after numerous plays, you’ll still recognise new elements hidden away in there. There’s a lot of stuff going on in the detail and, listening back to it later down the line, I became aware of a definite autobiographical slant that didn’t seem so obvious then, reflecting the struggle and soul searching that summed up my life at the point it was made. A mix will, obviously, always have something of yourself within it, but this is undoubtedly more personally revealing than anything else I’ve done – there’s some kind of twisted narrative in there, and I can hear me talking to myself via some of the samples I chose (for example, when you hear the words ‘does anyone remember who I am?’, I really meant it, trapped in obscurity as I was). Even the discordant parts, the bits that jar with me now, show me exactly where my head was at.

It was an important personal step for me, and I thank Matt Shannon for what he brought to the table – I didn’t have all the ingredients myself, and he was also pretty handy on the decks, so Matt was, of course, key to this. He no doubt reads it in a different way to me, but I know it has its own special symbolism for him, especially given he never followed the DJ route, and instead carved out a rewarding career working in the computer, rather than in club realm. 

‘The Monastic Mix’ very much informed what I did later, especially the Teenage DJ project, which built on that autobiographical slant I’d stumbled across. It’s echoes can also be heard via my use of samples in a live context - people who know my mixes from more recent times will, no doubt, recognise many of the samples I’ve subsequently used, which are spun from the same tape, but in a different context – from another time and place.

I think it’s a mix that’s most conducive to a chilled-out environment (and state of mind). I might have given the impression that it’s pretty heavy-going, but you’ll find lots of familiar stuff throughout (it makes for a great game of spot the sample) and I’m sure it’ll raise a smile, and perhaps even the spirit, here and there. 

Greg Wilson - November 2012

THE MONASTIC MIX (by greg wilson and matt shannon for the monastery 1996)

Touching Bass: The Bug

Music by VICE. Follow us at @noiseymusic http://www.noisey.com

Touching Bass: The Bug

Noisey