Tune Of The Sheet: K-Klass & Reza feat Bobbi Depasois - Finally

It's wholly common and mindlessly predictable for tunes to resurface in freshly made packaging, shiny enough to send eager 15 year old bodies dressed in trackies to their local store - the Internet - to spend their pennies. I in no way openly condone the illegal downloading of music, yet I wouldn't feel obliged to deter consumers away from becoming a minor criminal by halting revenue for this remake.

Without a doubt, there have been some credible remixes played across worthwhile nightclubs by purposeful DJ's, a couple of examples being 'Be vs Show Me Love' by members of The Swedish House Mafia where soulful vocals slide nicely alongside a heavy, innovative house beat, or even Dizzee's use of a rave classic in his new single 'Dirtee Cash' where there's enough change brought on by lyrical genius to profess good use of a yester-tune.

Every now and again there will be an updated release of an era-defining classic - in this case the original'Finally' prompted a significant change in my teenage mideducation, which incorporated happy hardcore and mature cheddar trance. I was locked in by a lack of knowledge, basking in a Britpop afterglow and born into a pre-modern town where this kind of scene was revelled in.

The original version of 'Finally', by respected trustees of house music The Kings Of Tomorrow, has been hijacked and transformed into something that quite literally makes me feel a little bit sick. Two reasons why this induces vom in my mouth; one) for taking the soul out of the original production of this tune, and two) for almost taking away from me what I give credit to as being a monumental factor in changing my musical identity.

K-Klass by name are remembered for their early 90's originals 'Let Me Show You' and 'Rhythm Is A Mystery', which were hits for the team of four lads who met in the holy grounds of the Hacienda. However, remixes of pop acts such as S Club 7, Geri Halliwell and Samantha Mumba detract likability away from their hay days, and reminds me of the initial blow upon first hearing this updated version of 'Finally'.

Hopefully, this tune won't make too much of an impression on humble dance floors, though on YouTube I'm left cringing at a little proof of positive reaction received for the terrible in comparison vocals and pestering, trance-like stabs to the heart of a beat.

If anything, at least you can sing along.

Enjoy!

Single: Sub Focus - This Could Be Real

Sub Focus (Nick Douwma) has finally unveiled a versatile self-titled album full of kicking, bustling beats from a diverse range of genres, released on the 12th of October. This is merely a post to share appreciation of the track 'This Could Be Real' from his debut album.

I lav it. And so should you.

Artist: Trevor Loveys

Who is Loveys? It sounds like he could be a vicar who skips and sings through life whilst producing soulful beats on the side, all of which is true. Except the vicar bit. And it wouldn't be right for me to speak on behalf of Trev in his skipping and singing exploits.

His recent single release on the 19th of October called 'Organ Grinder' shifts from nu-jazz enthused melodies of the past to a more electro-pop outlook, suiting the current dancefloor trends of today. His previous album released in 2005, 'Selected Singles And Remixes', is a collection of his own tunes put through a very cool remix machine leaving a silky, soulful outcome that sounds like it takes inspiration from the Masters At Work. It hosts Hipp-e's Full Mix of 'The Bounce' that samples the brilliant sound of Jazzanova's 'Our Time Is Coming' as well as another lazy summertime lick of soul called 'Elevate Your Mind'.

After swapping records labels over the years he now sits comfortably in Cheap Thrills, under which the new single is released. Though in recent years his most notorious venture is that of being teamed with Solid Groove to create an array of funky, edgy remixes under the guise of Switch.

So from downtempo, to deep house to dancefloor electro, Loveys is an established producer who has me anticipating his 2nd solo album release. Below is one of his finest solo tunes as mentioned above 'Elevate Your Mind'. For more of his stuff check out Kraak & Smaak's 'Squeeze Me', 'The Bounce' and 'Turn It Up'.

Night Review: The Warehouse Project - Deadmau5 'Mau5trap'

The feeling of anticipation for this renowned Manchester institution has overtook my weekend build up many times before and once again I am fully able to tread my eager feet on to definitive clubbing grounds with certain knowledge that at some point during the night to come I will lose control of my tense limbs as they become one with thy music.

The Warehouse Project has returned for another quart of a year to deliver time stopping shows and incredible live and DJ sets. This is the venue that has roused Manchester's worldwide penchant for putting on a memorable night reminiscent of the days when rave began in the history-making Hacienda nightclub.

The clubbing world is at its feet in mention of hugely hyped Canadian DJ Deadmau5 and I feel as if I am attending an event of someone who stands to be one of the most successful DJ’s in the world pretty soon. So naturally, there are high expectations. The crowd is different to the usual sophisticated enthusiasts, seemingly younger and donning clothes that fit the spectre of chav, whilst the aroma of Warehouse virgins lingers in circles around you - assumingly new students in town showing allegiance to an act that has produced some commercially stunning tracks.

Upon entering, supporting act Chris Lake is stimulating the increasing herd of a crowd with a tight and sound-perfect set, throwing out tracks 'Tropical Chick' by Alex Kenji, a special mix of Kings Of Leon's 'Use Somebody' and the overplayed and overrated La Roux's 'In For The Kill'. Commercial sing-alongs aside, Lake provides a popular dirty electro sound that bounces off the walls and fits perfectly, like condom to head, in a venue such as this. Still, everybody is waiting patiently for 2am.

Deadmau5's slightly pretentious entrance is impressing the crowd, overshadowing his impending 2 hour set. The crowd are compressing themselves and cheer as if a heavyweight sporting legend has just appeared from beyond the layer of smoke, all staring at the infamous giant mouse head made larger by the skinny frame it balances upon. The stirring hype, however, is short lived - fast forward past a 30 minute opening of renowned tracks such as 'The Reward Is Cheese' and people start to disperse and numbers dwindle.

It all becomes a bit of a letdown.

Yes, unfortunately the set based on his new material is overusing minimal trance, some of which sounds too much alike to determine the start and end of any one track. Thus, I am craving for more, standing rather than stomping and gazing outwardly towards the lights, the beautiful entrancing lights.

Despite my wish for recognisable tunes to surface amongst this constant, downbeat style synonymous with Deadmau5, there is one aspect that is impressing me and a few other hedonists - the expressive lights and laser show. The stage is mounted with tall rectangular shapes showing trippy visuals of ascending lights shaped like a city of skyscrapers, only to descend in quick succession as if the city is being tore down as quickly as erected. Meanwhile, rays of light are piercing a smoky haze, shooting past the DJ and creating a silhouette Mau5 lapping up the love being projected from the crowd through finger punches to the air and silent screams of approval.

In this egotistical moment of his I realise the legions of fans that remain in the room, and the world over, look up to Deadmau5 as if he invented music itself. What he is achieving is an icon status but only to fans that will stand by him despite what his shows and sounds are like. I feel there is a fine line these days between an icon and somebody who is quite subtly a well marketed gimmick.

Full credit goes out to a few of his renowned tunes - most notably the extra long and very acknowledged version of 'I Remember' - that sometimes couldn't be heard over screams of immense appreciation. For all of the nights grandeur expectations that eventually fell way short of the mark, it is 'I Remember' that resurrected a dying night.

Review: Michel Cleis feat Toto la Momposina - 'La Mezcla'

It's the 25th of September, people are gathering inside the world's most popular club for its 11th annual awards. Its name sparkles in sultry red lights above the stage, a cherry logo is dotted around various walls above world DJ's, producers, technology swots and insiders. This is none other than... The Pacha DJ Awards 2009.

I hadn't heard of them either until a few months ago. Maybe I'm a bit slow in jumping on the DJ-wagon? Whatever the case, the awards handed out are well respected, so is deserved when held within a prestigious nightclub domain. One award that has been continuous from inception is 'Best Ibiza Track'.

Insert a drum roll here.... and without further hesitation, the award, if you haven't already sussed it out through the title, goes to Michel Cleis with 'La Mezcla'. Voila.

It has become the sound of Ibiza this year, which saw early predictions of its inevitable success manifest to truth. Its general release is November 2nd, with new remixes from Copyright, Charles Webster and DJ Roog in the pipeline - so expect this tune to play out on many of the main floors across the country (and world) over the coming months.

The tune itself is broken up and packaged into three surging phases. Upon its beginning you'll unknowingly find yourself lying in a blossoming field of percussion through which roams a rattlesnake shaking its fearful sound. Then phase 2 delivers hypnotic pan flute playing, also used in Timbaland's 'Indian Flute', which lingers like the smell of freshly roasted coffee beans under which tribal drums broaden. One of the highlights of this track and something that makes it work so well is phase 3 - the rousing Latin folk-dance vocal sampled from Toto la Momposina's early 1992 release 'Curura'. When in full swing, the spell-like tune leads your mind deep into a Colombian forest where people shake their shit with strong defiance around a campfire as to stop the sky from striking them down.

By all means, a hugely infectious release from Swiss/French producer Michel Cleis. The hype was big early on and novelty may be running low, but now with a new, raunchy music video I believe it to blow up across commercial radio and tv waves.

I envisage this to be a tune that in years to come will inspire sun-kissed memories of 2009.

Tiesto

A massive worldwide Tiesto tour is in progress. Here is an interview from blackbookmag.com.