Asquith launches his new label Higher Power with four slabs of pace-y, hardcore and UK breakbeat-tinged techno on the blistering 'Set The Trap EP'.

The newly minted label is set to showcase Asquith's own productions, as well as the output of a select number of other sonically-affiliated artists, and has a stated aim of merging the Copenhagen-via-Berlin fast techno-trance sounds with the UK breakbeat, jungle, garage and sub-heavy genre set.

Here we get a taste of several of the label's key genre tones, all wrapped up in a 145-160bpm shiny fast techno wrapper. Proper road runner club fodder to kick off the summer.

A1. Set The Trap
A2. Escape Hatch (Running Mix)
B1. Wait A Minute
B2. Bergamot (Scent Mix)

Higher Power 2021

Set the Trap

BUY RELEASE

Set The Trap

Kevin Saunderson - Live @ DC-10 Ibiza (September 3, 2013)

Read our interview with @jamesbangura and check out this mix's track list here: bit.ly/BangPod

Groove Podcast 343

Tracklist

Groove Podcast 343 - James Bangura

Floorplan - Never Grow Old (Re-Plant)

FREE DOWNLOAD: https://hypeddit.com/track/4ad14a

FREE HQ DOWNLOAD

DJ SPOOKIE - RELOAD [JIMMY EDGAR EDIT]

01 DERRICK MAY  HI-TEK-SOUL MIX LIVE TOKYO

iTunes: http://bit.ly/L3JVRK
Spotify: http://spoti.fi/1GpWLbB
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"Grown Up" is a new track from Fool's Gold's own Danny Brown. It's the autobiographical origin story of a daredevil MC, chronicling his rise from a misfit pre-teen battling in the lunchroom to the radioactive rap hero he is today. Over a hypnotizing beat from FG label mate and fellow up-and-comer Party Supplies (and a scratch chorus from DMC champion DJ Shiftee), "Grown Up" is the perfect showcase for Danny Brown's corkscrew flows and poet's eye for detail.

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Grown Up

iTunes

Danny Brown - Grown Up

This is a mix I did for a radio show in Detroit in 1998!!

Kenny Larkin Classics Mix 1 (1998)

02 Kenny Larkin Classics 2 Mix

Rhythim is Rhythim - Strings of Life

North/South America: hagi@detroitpremiereartists.com
European Bookings: marc@dskonnect.com

Bookings:
ROTW -  dylan@onehouseartists.com
NA / SA -  cara@liaisonartists.com

Management: napper@onehouseartists.com + phil@onehouseartists.com

Press Contacts:
PRESS REQUESTS TO ALICE BROWNE alice@thisisamethyst.com

Platinum-selling recording artist, label boss, festival promoter, true innovator in the pantheon of popular music, cultural champion, cracking DJ: there’s a lot to be said about Kevin Saunderson.

His influence runs deep, through both adopted hometown of Detroit, and music culture as a whole: as one of the Belleville Three, the high school trio which also includes Juan Atkins and Derrick May, he irreparably changed the face of electronic music; with Inner City, he gave it some of its most memorable tunes. 

The genesis of today’s enormous techno scene can be retraced straight to Kevin, Derrick and Juan, as their formative experiments on rudimentary hardware sketched a blueprint for a genre that was yet to exist. By absorbing Kraftwerk, cutting-edge funk, local radio stalwart The Electrifying Mojo’s electicism, and all manner of new synthesiser and drum machine-led pop music, the Belleville Three broke new ground as musicians and DJs in the 80s. 

Saunderson’s comparatively late start as a producer – kicking off in ’87 under the moniker of Kreem, with E-Dancer and Reese two of the more well-known names to follow – inadvertently gifted him a headstart. With the eruption of house music a few hours down the I-94 in Chicago, Saunderson married Detroit’s raw sound to more tactile, pop-leaning sensibilities. Inner City was born, and global success followed.

Between “Big Fun”, “Good Life”, debut album Paradise and a number of follow-up singles, Inner City (Saunderson and vocalist Paris Grey) amassed 12 UK top 40 hits and over six million records sold worldwide during their peak. A dancefloor-dominating remix by Luciano in 2008, and a globetrotting reunion tour in 2012, underscores the longevity of Inner City’s classic sound. 

His nickname of ‘The Elevator’ is apt: for his role in transporting Detroit’s new sound to a wider audience; as anyone who has seen him perform live can attest, his high-energy, high-spirit and high-impact DJ sets; and for spending the past 35 years of his life progressing the culture he helped create. 

Operating in tandem to his golden run as a producer in the late 80s and early 90s, Saunderson’s own KMS record label – a remarkable 30 years strong in 2017 – has chronicled the early footsteps of R-Tyme, Blake Baxter, MK, Chez Damier, Derrick Carter, Bicep and even Saunderson’s son and regular DJ partner Dantiez more recently. 

A special 12” series in 2008 called History Elevate, released in tandem with fellow polymath Carl Craig’s Planet E label, brought contemporary names like Mathew Jonson, Simian Mobile Disco and Loco Dice into the fold, proving his nous for fostering relationships with each new wave to come through techno’s gates. 25th anniversary compilations and numerous reissues have followed suit. 

Saunderson has a behind-the-scenes role to play, too: he is intertwined with the history of Detroit’s flagship Movement (formerly Detroit Electronic Music Festival / Fuse-In). Having produced the event in the mid-2000s, the last handful of years have seen repeated invites from Movement to display his ORIGINS showcase at the festival, bringing acts like Delano Smith, Phuture and DJ Minx under his curatorial umbrella. 

And of course, with a stacked international touring schedule over the decades, playing in nearly every country and at nearly every festival or club worth mention, he has not stopped pushing the feeling of techno on and on. 

The Groove That Won’t Stop, indeed.

~ bookings ~ 
carl@suomotubookings.com (UK & EU)
monty@untitledgroup.com.au (Australia)

~ contact + music ~
tracksforasquith@gmail.com

💖

Before I got into this music I wanted to be an originator ; I wanted to be original".
Founding member of the legendary group Underground Resistance as a 'Minister Of Information' with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill's Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late Nineties.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. 

"Growing up in Detroit, I grew up with Motown in the house - a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield. I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group.
We listened to a lot of Motown - in fact, my grandfather’s first cousin is Berry Gordy.
"I was influenced by my father - I wanted to play trumpet like he did."
Robert's father tragically died when he was just 6. The photo of Robert siting down holding a trumpet is his fathers.
"I had to beg my grandmother to let me borrow the trumpet to take a picture with it"

In the early 90's he began to concentrate on his own production 'Vision EP', the 'Riot EP' and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’.

He soon decided it was time for him to start his own label to focus on what was in his soul musically. M-Plant started in ’94. I had developed this “grey area” sound - what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno - it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that. I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.

Releasing singles such as "Internal Empire,", “The Protein Valve” "Music Data," and "Moveable Parts", "The Pace", more recently "Range", "Alpha" and that isn't even touching his other monikers Floorplan, Monobox, The Vision, etc.
"M-Plant is what I've always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It's a heart-felt rhythmic techno sound. M-Plant is just M. minimal. “

Although his desire to remain underground has been replaced by an urge to reach a wider audience, mainly via his housier, disco, gospel moniker Floorplan with his daughter Lyric Hood,   Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends. 



Magazin für elektronische Musik und Clubkultur

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