Est. April 2003
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If you are the owner of any of these live sets or mix sets and wish to have them removed, please contact us by clicking here.
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Adam Beyer - Cafe de La Gare - 2002
Submitted By: 
dico
dicoGenre: Techno
Date of Set: 2002
Filesize: 132.08 MB
Total Downloads: 9
Biography of Adam Beyer
Adam Beyer became dedicated to the fascinating world of rhythm early on. After playing the drums as a teenager his obsession turned to the decks. In 1990 he bought his first set of turntables and started spinning a wide range of hiphop, hiphouse, acid and techno at local parties and clubs. Beyer soon learned how to blend his sets in a thoughtfull and highly focused way, a talent that has now developed into his trademark style.
In 92 Fellow school friend Peter Benisch introduced Beyer to the sampler , a year later they got their first record deal with New York based Direct Drive. After finishing school in 1995, Beyer started work at the Planet Rhythm record store while releasing some tracks under a variety of names and continually djing all over Scandinavia. Adam Beyer sites Drumcodes 1 (Planet Rhythm 1995) as the first record to define his style; hard, percussive and loop oriented. This 12' names Beyer´s future label and was soon followed by his critically acclaimed debut album Decoded (Planet Rhythm 1996).
His need to create the perfect dj tool gave rise to the launch of the Drumcode label allowing him total musical freedom. The label´s strong concept and high production levels meant it enjoyed immediate success. After six releases Beyer launched his second label Code Red focusing on a slightly softer side of techno. Code Red finished with its 10 th and final release Stand Down (Code Red 1999) which was a compilation of remixes from various international artists.
His production skills soon brought Beyer to the attention of djs worldwide and global bookings soon followed. His meteoric rise has been cited as one of the catalysts for Swedish techno´s current influence. He pinpoints the Stockholm sound as being closely linked to his network of friends in the city aswell as the triumvirate of himself, Joel Mull and Cari Lekebusch. After many releases and remixes on various labels he launched the second album Protechtion (Drumcode 1999).
While the market was being flooded with monoton loop oriented techno Beyer worked on strengthening the arrangements that characterised his earlier works, aswell as adding melodic strings. Still with a clear focus on the dance floor. The same year Adam Beyer and Cari Lekebusch linked up to create a stunning live act first witnessed in London to instant acclaim. The act created the intense feeling of a creative dj set while the duo played back to back mixing their production styles.
In 92 Fellow school friend Peter Benisch introduced Beyer to the sampler , a year later they got their first record deal with New York based Direct Drive. After finishing school in 1995, Beyer started work at the Planet Rhythm record store while releasing some tracks under a variety of names and continually djing all over Scandinavia. Adam Beyer sites Drumcodes 1 (Planet Rhythm 1995) as the first record to define his style; hard, percussive and loop oriented. This 12' names Beyer´s future label and was soon followed by his critically acclaimed debut album Decoded (Planet Rhythm 1996).
His need to create the perfect dj tool gave rise to the launch of the Drumcode label allowing him total musical freedom. The label´s strong concept and high production levels meant it enjoyed immediate success. After six releases Beyer launched his second label Code Red focusing on a slightly softer side of techno. Code Red finished with its 10 th and final release Stand Down (Code Red 1999) which was a compilation of remixes from various international artists.
His production skills soon brought Beyer to the attention of djs worldwide and global bookings soon followed. His meteoric rise has been cited as one of the catalysts for Swedish techno´s current influence. He pinpoints the Stockholm sound as being closely linked to his network of friends in the city aswell as the triumvirate of himself, Joel Mull and Cari Lekebusch. After many releases and remixes on various labels he launched the second album Protechtion (Drumcode 1999).
While the market was being flooded with monoton loop oriented techno Beyer worked on strengthening the arrangements that characterised his earlier works, aswell as adding melodic strings. Still with a clear focus on the dance floor. The same year Adam Beyer and Cari Lekebusch linked up to create a stunning live act first witnessed in London to instant acclaim. The act created the intense feeling of a creative dj set while the duo played back to back mixing their production styles.
Umek - Cafe de La Gare - 2002
Submitted By: dico
dicoGenre: Techno
Date of Set: 2002
Filesize: 132.08 MB
Total Downloads: 9
Biography of Umek
Uros Umek grew up in the former Yugoslavia, but the restrictive regime didn't halt his passion for music. In his teens, he used to tune into an illegal London radio station via a satellite programme. *It played techno, rave, hardcore and breaks non-stop at the weekend and, we never left the house all weekend in case we missed something?*, he laughs.
When Yugoslavia imploded at the start of the 90s, Umek's native Slovenia was the first country to exit the federation. Although the tiny state had always been more liberal than other parts of Yugoslavia, Umek, who was beginning to DJ, found it hard to buy records in his home town of Ljubljana. This meant he had to drive eight hours to Germany to feed his growing vinyl addiction.
*There's a huge passion for music here and that was part of our ritual,* he explains. Umek was also the first DJ to put on events in Slovenia in 1992-93. Although his first few parties were underground affairs, word of mouth soon meant that thousands of people were attending his events and, as he says himself,*the police and authorities didn't know what to do, so they just left us alone.*
By this stage, Umek had honed his DJ skills and was spinning on three decks. He also started to book international guests and names like Billy Nasty and Surgeon were among the first guests to play at his parties.
The latter DJs' sound left a lasting impression on Umek and he admits that his earlier releases were heavily influenced by Birmingham techno. As Umek became more confident in the studio, his sound shifted to the rolling grooves of his Mumps releases for Billy Nasty's Tortured label. Informed by Umek's love of early house as much as passion for club techno, the first Mumps release thrust the Slovenian DJ into the international spotlight, but he says that his background was at first a hindrance: *It took me about twenty releases before I got to play a lot outside of Slovenia.*
In the meantime, Umek honed his art as a DJ and set up two labels, Consumer Recreation and, together with Valentino Kanzyani, Recycled Loops. While the later explored the duo's love of sped-up, disco infected crossover tracks, Consumer saw Umek reignite the flame under the synthetic techno sound.
By the late 90s, clubbers around the world were able to experience Umek's dynamic DJing. Spinning on three decks, his sets are a whirlwind of energy, as he works the seemingly disparate musical elements that also characterise his productions. Umek barely touches the pitch control and cues effortlessly as he works every effect possible on the mixer. From tribal tech-house to rolling party techno and taking in the disco influenced Recycled output, the drum heavy Voices Of Africa; trilogy and his firing minimalism, Umek's performances fuse his different production sounds, but still manage to entertain. This ability to appeal to all dance audiences is reflected in his non-stop DJ schedule and on his 2002 Tortured Chamber mix for Tortured - where Umek pieced together a whirlwind 27 track selection.
Tortured Chamber was followed by a mix for German party organisers Timewarp this year, which saw the DJ opt for a tougher, more full on approach. Unlike the techno purists who have kept the music safe from outside interference, Umek clearly wants his music heard by as many people as possible and has even hinted that, in the future, he may release an electronic pop album.
Indeed, the crossover support for Umek's work on Recycled Loops, Bugged Out! and End Recordings and the Mumps and Voices Of Africa series as well as for the dubby, tribal tech-house house sound of his Earrisistible label which he launched in 2000 has been remarkable, with mainstream names like Pete Tong charting and supporting his work.
That's not to suggest that he has deserted his underground roots: apart from the Slovenian producer's Consumer Recreation releases, his Zeta Reticula series for Electrix which is at number four so far show Umek is also adept at making underground electro and Maurizio / Basic Channel inspired dub tracks. *I want to be an all round producer, I need new challenges. I've got to a stage where my tastes have changed: I love electro, tech-house and percussive house, so what's the point in just putting out banging techno* he asks.
2003 also saw Umek release his debut album, 'Neuro' and make a break with the dance floor. Inspired by abstract artists like Autechre as well as industrial artists like Nitzer Ebb, the album was a brave move for Umek. It might not have appealed to fans of his club techno, but it satiated his need for making new, innovative music.
Umek has also been prolific as a remixer in the last few years, and has lent seminal synth pop act Depeche Mode his magic touch. He also worked with fellow Slovenian act Laibach on their recent comeback, providing remixes for the art terrorists' comeback single, 'Tanz Mit Laibach'.
*I work seven days a week on music, and the reason I produce so much is that I love what I do,* Umek maintains.
Perhaps the most stunning indictment of Umek's crossover appeal was his comeback gig in Slovenia in the autumn of 2001 after an 18 month break, where he played to five thousand adoring fans, who screamed his nickname
http://www.myspace.com/djumek
http://www.reconwarriors.com
When Yugoslavia imploded at the start of the 90s, Umek's native Slovenia was the first country to exit the federation. Although the tiny state had always been more liberal than other parts of Yugoslavia, Umek, who was beginning to DJ, found it hard to buy records in his home town of Ljubljana. This meant he had to drive eight hours to Germany to feed his growing vinyl addiction.
*There's a huge passion for music here and that was part of our ritual,* he explains. Umek was also the first DJ to put on events in Slovenia in 1992-93. Although his first few parties were underground affairs, word of mouth soon meant that thousands of people were attending his events and, as he says himself,*the police and authorities didn't know what to do, so they just left us alone.*
By this stage, Umek had honed his DJ skills and was spinning on three decks. He also started to book international guests and names like Billy Nasty and Surgeon were among the first guests to play at his parties.
The latter DJs' sound left a lasting impression on Umek and he admits that his earlier releases were heavily influenced by Birmingham techno. As Umek became more confident in the studio, his sound shifted to the rolling grooves of his Mumps releases for Billy Nasty's Tortured label. Informed by Umek's love of early house as much as passion for club techno, the first Mumps release thrust the Slovenian DJ into the international spotlight, but he says that his background was at first a hindrance: *It took me about twenty releases before I got to play a lot outside of Slovenia.*
In the meantime, Umek honed his art as a DJ and set up two labels, Consumer Recreation and, together with Valentino Kanzyani, Recycled Loops. While the later explored the duo's love of sped-up, disco infected crossover tracks, Consumer saw Umek reignite the flame under the synthetic techno sound.
By the late 90s, clubbers around the world were able to experience Umek's dynamic DJing. Spinning on three decks, his sets are a whirlwind of energy, as he works the seemingly disparate musical elements that also characterise his productions. Umek barely touches the pitch control and cues effortlessly as he works every effect possible on the mixer. From tribal tech-house to rolling party techno and taking in the disco influenced Recycled output, the drum heavy Voices Of Africa; trilogy and his firing minimalism, Umek's performances fuse his different production sounds, but still manage to entertain. This ability to appeal to all dance audiences is reflected in his non-stop DJ schedule and on his 2002 Tortured Chamber mix for Tortured - where Umek pieced together a whirlwind 27 track selection.
Tortured Chamber was followed by a mix for German party organisers Timewarp this year, which saw the DJ opt for a tougher, more full on approach. Unlike the techno purists who have kept the music safe from outside interference, Umek clearly wants his music heard by as many people as possible and has even hinted that, in the future, he may release an electronic pop album.
Indeed, the crossover support for Umek's work on Recycled Loops, Bugged Out! and End Recordings and the Mumps and Voices Of Africa series as well as for the dubby, tribal tech-house house sound of his Earrisistible label which he launched in 2000 has been remarkable, with mainstream names like Pete Tong charting and supporting his work.
That's not to suggest that he has deserted his underground roots: apart from the Slovenian producer's Consumer Recreation releases, his Zeta Reticula series for Electrix which is at number four so far show Umek is also adept at making underground electro and Maurizio / Basic Channel inspired dub tracks. *I want to be an all round producer, I need new challenges. I've got to a stage where my tastes have changed: I love electro, tech-house and percussive house, so what's the point in just putting out banging techno* he asks.
2003 also saw Umek release his debut album, 'Neuro' and make a break with the dance floor. Inspired by abstract artists like Autechre as well as industrial artists like Nitzer Ebb, the album was a brave move for Umek. It might not have appealed to fans of his club techno, but it satiated his need for making new, innovative music.
Umek has also been prolific as a remixer in the last few years, and has lent seminal synth pop act Depeche Mode his magic touch. He also worked with fellow Slovenian act Laibach on their recent comeback, providing remixes for the art terrorists' comeback single, 'Tanz Mit Laibach'.
*I work seven days a week on music, and the reason I produce so much is that I love what I do,* Umek maintains.
Perhaps the most stunning indictment of Umek's crossover appeal was his comeback gig in Slovenia in the autumn of 2001 after an 18 month break, where he played to five thousand adoring fans, who screamed his nickname
http://www.myspace.com/djumek
http://www.reconwarriors.com
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