MK, born Marc Kinchen, is one of our heroes. Born in Detroit, but later embracing elements of the New York garage sound, he’s one of the true innovators of the dub dance mix, a style made most famous on his “Dub Of Doom” mix of Nightcrawlers’ “Push The Feeling”.  Fast forward to the present and with the near death of major label pop remixes the true dub mix has become a lost art. So, what better time for a return of the King Of The Dub and what better place than at Detroit Electronic Music Festival (Movement 2009) where he will be premiering his new 4 turntable plus sampler set with his brother Scotti Deep. I had the honor of catching up with the man himself from his L.A. digs as he prepares for his upcoming return to dance music.

How’d you get involved with techno?
Basically, I started in Detroit when I was 16. I had started doing music when I was in 8th grade and then I met a guy named Terrence Parker through a friend of mine and he did techno music. I didn’t know about techno music then, but he saw I had gear and he’s like “you wanna make a record together”. So we made our first release as Separate Minds and it came out on a little independent label called Express Records and got a pretty good buzz. When that came out Kevin Saunderson heard it and got in touch with me to license the song for [his label] KMS.

That’s so funny, I just got a copy of that compilation the other day.
Yeah, that was big for us, but most important, that’s when I met Kevin and from that point I became Kevin’s protégé.

What did you use to make those legendary basslines?
I always sequenced on computers. I think I was using an Atari ST. Then I had a 909 and a sampler and for synths I would just use what Kevin had. He had like every synth in his studio, but always I tried to stay simple, I just winged it with like one or two synth parts. But, alot of my bass sounds were samples. I would sample a bass sound that then assign it to a keyboard. I’ve never really been like stuck to one type of synth or a couple types of synths. Other then bass, sampling was really just for vocals, but I probably used the same bass sample for about 5 years.

For me your dubs are the most influential, but you also had a bunch of hit vocal tracks, what differs in your approach to a vocal vs. a dub?
I’ve always thought I had a good ear for vocals, but sometimes on some of the dance stuff the vocals were hard to work with. Most of the time if I had a vocal track that I didn’t like the vocals too, that’s when I would do a dub. As far as when I’m doing [original] vocals, it depends on the type of sound I’m looking for. The MK with Alana stuff like Burning was more a strategic approach. Now, vocally, when I approach something I go on a vibe, but now a days I use better singers.

What’s the dude saying on the Nightcrawlers jam?
Uh-and-a-night-again-uh-and-a-night-so-pull-it. But seriously, I got commissioned to do a mix [of that song], I did the mix, and they didn’t like it. I was living in New York and my manger called me and said they didn’t like it, but I was about to go catch a flight to Detroit. At that time one of my speakers was blown and my [mixing] board was on the floor, not even set up. My studio was a mess. I was kinda mad that they didn’t like it, so I did [a new] one real quick, in like 30 minutes. I didn’t like the vocals so I just cut it up. Everything I did was a first pass, from the horns to the keys to the sample. Plus, I was working out of only one speaker. I just did the mix sent it to my manager and I was out. I get back to New York a week later and I listened to the mix and I got goose bumps. Then I played it for my brother [Scotti Deep] and he was like damn.

Wow, 30 minutes, for one of the biggest dance songs of all time? Crazy!
I try to take that approach when I do dance stuff. I don’t put alot of thought in to my dance stuff. It’s more just a feeling, so I just go for it and hopefully it ends up working for whatever reason.

Why’d you step away from dance music?
I was doing a mix a week for like 15-20 grand so money wasn’t the issue. The issue became, am I just gunna remix my whole life? Cause at the time remixing was a relatively new thing and so was producing, I didn’t know about the longevity, so I was like I need to do original production. You hear about producers and artist that are living off of royalties later on in life. I kinda just stopped doing remixes and I went into production. I hooked up with Quincy Jones and that led to working with 702, Snoop, SWV, Jay-Z, E-40 and everybody else.

So why the return to dance music?
That was fine and [dance music] was in the beginning stages of dying down anyway. [Today] with the way the industry is right now, it’s not good right now. I feel like if your gunna do it now, just do it for the art. So it felt like a good time to get back into it. What I’m doing is trying to do some stuff a little different, I’m going to put out a new MK record vinyl only, no digital.

When’s it coming out? What does it sound like?
It will be done before Detroit and will probably be out in June. One of the tracks is called “Dance With Me”. [The sound] is kind of a return to before. I’ve been doing stuff over the last year to see what style works for me. My old sound still works, with a little harder drums but still the dub stuff. I like the dub sound of vocal pieces. I’m also gunna be DJing more over the next year or two. My brother [Scotti Deep] and I are gunna start touring around.

You’re gunna be playing with Scotti at Movement. What’s that gunna sound like? Is this the world premier?
Well, it’s a 4 turntable thing plus a sampler so I can do like dubs on the fly kinda thing. Almost like a live meets DJ thing. We DJed together like tag-team in London a couple months back, but Detroit is the permier of the keyboard and 4 deck thing.

What other new sounds are you into?
It’s the same as it’s always been for me. I never listen to anything by name. Maybe, just Masters At Work and Todd [Terry] back in the day. I wont even ask the name of it, I just listen and “yeah its dope”. I’ve also always really liked Mike Dunn.

Any last words?
See you in 2009. Ha!

For more on Movement 2009 check out their myspace and blog.

In anticipation of Abe Duque’s performance at Midweektechno tomorrow, Wed 2/18, we’ve asked “Mr Techno” himself Pat Fontes to dig into this artist who has inspired so many.  Let us not forget that we will be celebrating Pat’s birthday tomorrow, and while we dont think Abe Duque will be popping out of a cake, we do think that he will punishing the Pheonix Landing sound system with exclusive nastiness.

We let Pat Fontes take it from here…

So Underground It Hurts is more than just Abe Duque’s motto, its literally his signature etched into all of the vinyl releases on his limited edition imprint Abe Duque Records.  He’s also done away with your everyday paper artsy labels, opting instead for more pronounced etching where a label might have been.  Sometimes he even avoids track titles all together.  Im guessing he does this to let the music speak for itself, but i gotta tell you that it’s something I truly admire and have the upmost respect for!  Here are a few of Abe Duques tracks that I’ve ripped so you can hear his sound.

Abe Duque – Untitled A1 [Abe Duque Records 005 - Besame Mucho! - 2003]
DOWNLOAD / BUY VINYL
The first track of choice and all time favorite released in 2003 is a lil jacking freaky breaky number that is a proven party rocker with snip samples of some dude repeating “feel that…..ah… feel that funk !”   Hearing all the crackles and pops you can probably tell that I have worn this record out like a pair of running shoes in a marathon.  You can find this tune entitled Besame Mucho on Abe Duque Records #5

Abe Duque – What You Gonna Do? vs Disco Lights
DOWNLOAD
The second track is actually a mix of two tracks that marries Abe Duques somewhat Detroit style to his more edgy NY/Berlin flavor.  Defined as house to some and techno to others, both tracks combine well.  The opening track includes a cameo from non-other than Blake Baxter, which on the flip of this record has the big 2004 hit “What Happened” (a question some of us still ask ourselves once the sun is up)  The other record does the same asking ” What you gonna do ?” so yea what you gonna do ? Disco Lights … Club Nights … definitely!

Thank you Pat .  Based out of NYC, Abe Duque is well known as a founding member of the Rancho Relaxo Allstars along with Dietrich Schoenemann and John Selway.  He has also worked closely with DJ Hell co-producing many of his records.  Abe Duque has released original music and remixed since 1993 on labels including Tresor, Tension, International Deejay Gigolo’s and many others.  As a DJ Abe has travelled far and wide to play his music, from his once club residency Limelight in NYC to many stops around the globe.  See some fun videos here.

For me, Aquarius Recordings was never just about the music, but rather a very clear aesthetic that went beyond just looking back to dance music’s roots in sound and style, but also in visual design. As you can see from the artwork pictured above (which is on the 3 records we explore later), Aquarius was looking to the past in imagery as well as layout and font, which were the same on every Aquarius record I have ever seen. The music on each Aquarius vinyl (and I can only speak for the ‘96-’99 heyday) follows the same themes as the artwork: simple, sample based and dripping with disco, soul, jazz or funk. Each track pays tribute to the narrative of American dance music, while still looking forward and pushing new boundaries in sound and technique that would lay an important piece of the foundations for the disco house explosion of the late 90’s.

Paul Jacobs – Untitled (A1) [DISCO 01 - Soul Grabber Pt. 1 - 1996]
DOWNLOAD MP3 / BUY VINYL
I just checked Paul Jacobs‘ Myspace page and the latest comment is from none other than former Roots&Future interviewee Hollis P Monroe, who shouts out Jacobs for his remix of Dreams In Digital killing it at Fabric back in 2001. I’ve never heard that remix, but I have heard enough from Jacobs to know how important he was to the disco house movement. Following in the footsteps of Chicago house artists like Gene Farris, Paul Johnson, Boo Williams and Glenn Underground, Jacobs’ Soul Grabber releases (of which this was the first) defined the harder edge of the disco house sound made so popular by Daft Punk and DJ Sneak. And while Sneak and the Frenchmen may have more staying power, from 1996-1999 Jacobs was as important as anyone in disco house.

George Thomson – Untitled (B1) [DISCO 09 - Goin' Home EP - 1997]
DOWNLOAD MP3 / BUY VINYL
Congratulations! You’ve just been let in on a secret Soul Clap dancefloor bomb. This looped out disco house monster is by George Thomson aka The Plastic Avengers of NRK fame and who also had a release on Crosstown Rebels in 2005 called Laid Back Snack Attack.

Back Door Revelations – Untitled (B1) [DISCO 13 - 1998]
DOWNLOAD MP3 / BUY VINYL
While I’m not quite sure about the name of this EP, it was the only release under that name by  Jason Hodges , Matt Dimaria , Shams Thirani, who were better known as Jinxx. While Thirani seems to have disapeered, Hodges and Dimaria are two of Toronto’s most prolific and longstanding house producers, with releases on a laundry list of top labels. This actually isn’t our favorite track on the EP, that would be the B2 cut, but we do have to keep some of our weapons secret

I’ve been a big fan of Terry Francis since I got the Architecture mix he did for Pagan Records in 1998. To me this mix represents the peak of the UK tech house sound that Francis played a huge role in molding and is one of my favorite mixes of all time. But since the early ’00s I haven’t been a huge fan of the direction Francis and the rest of the UK tech sound has gone. Until now, well sort of. While I love this mix Francis did for the GTC Podcast in October, I feel like it’s a whole new world from previous mixes I had heard. Maybe it’s just because I have been out of touch with his music, but for this one Francis blends his signature tech sound with jacking house funk to create a perfect mix for your headphones and your butt. As for GTC (Get The Curse), they first caught my attention with the D’Julz episode of their podcast back in June and basically have been going from strength to strength ever since so do yourself a favor and subscribe.
Get The Curse Podcast 041 – Terry Francis

More mixes from around the interwebs this week:
I:Cube Mix = Opertation Hynosis from Versatile Records Blog
Andomat 3000 from LWE
Marko Fürstenberg Live @ Panorama Bar 9/27/08 from Playkula

It’s not often that we review new music here on the Soul Clap blog, but it’s also not often that a label/party/”music community” as important as Wolf + Lamb drops their first vinyl release, which is what they’re doing this month in the form of Lee Curtiss‘ “Sexy Dancer EP”. We went to our first Wolf + Lamb party during minitek, and let me tell you, if you haven’t been to one of their underground events at the Marcy Hotel you’re missing out. Besides throwing some of the best parties in NYC, Wolf + Lamb founders Zev Eisenberg and Gadi Mizrahi have been running a digital label since 2004, which features over 50 releases from many of US techno’s rising stars like Seth Troxler, Ryan Crosson, Shaun Reeves and of course Lee Curtiss who clearly has been carefully selected to launch Wolf + Lamb Records in grand fashion.

And launch the label Curtiss does… If by launch you mean to dive deep into the throbbing womb of a dark afterhours dancefloor. With “Sexy Dancer EP” Curtiss has truly captured that afterhours sound of 2008 in one tight package. The uneasily repetitive floating vocal snippets, the raw dark-funk bassline, the chopped up jitterly swung house beats, the winding and seemingly structureless sequencing and all delivered in a slow shuffled sway. However, while all these elements run through the entire four track EP, each cut still manages to distinguish itself with a distinct flavor all it’s own. Take our favorite for example: for “And Counting” Curtiss combines a mysterious Ghost In The Shell-esque vocal, with swinging garage beats and warm house chords to create a deep throbbing late-night masterpiece. The title track, “Sexy Dancer”, relies less on vocals (while still managing to include incompreshensible snippets) and more on 80’s influences, with Princian funk stabs running from begining to end and a dark ripping bassline combing to create a heavy dancefloor workout. Closing out the EP is Curtiss’ remix of Wolf + Lamb staple Smirk’s “Start A Fire”, which goes even darker than the previous cuts with an evil, repetitive bassline and more unnervingly chopped male vocals driving the track forward with a true sense of emptiness and despair that could only only be inspired by the sweat covered walls and contorted bodies crammed into the impossibly small Marcy Hotel dancefloor at another Wolf + Lamb party.

To help promote the release the W+L guys have been kind enough to giveaway some teaser material from the digital label for a limited time

Zev – Feelin’ DOWNLOAD

Zev – Blade Runner Blues (Remix of Vangelis) DOWNLOAD

So, completely unrelated to anything, last night I found myself unveiling a web of nerdo music information that had me rather astonished.  It all started thanks to Paul Foley’s “Groove To Dis Biatch” ghetto ass mix cd from ages ago I found knocking around the car.  The mix starts out with Kraftwerk’s “The Man Machine” which alone is incredibly dope, however, my journey begins a few tracks later into the mix.

Toto’s EPIC sensitive anthem “Georgy Porgy” is where I totally lost it.  This song is so amazing, I mean its one of those jams where you’re can’t even help singing along (not backup either, just like belting shit out while crying hysterically inside).  PLUS, what a tune to get so down to on the dance floor, ultimate swagger.  Ridiculous harmony, the syncopation between the vocal and the piano, that disco shuffle and Cheryll Lynn (her myspace page is myspace.com/butterflygong1, I kid you NOT) + wood block on the chorus! I dunno, maybe its just me, but it brings out everything that’s ever gone right or wrong in a relationship.  Believe, if you’re still sensitive in 2008, you know what I’m talking about.  This is truely the work of a tortured man.  Like damn bro, shoulda told the girl you were a player, its the LOVE that leaves you exposed like a sandcastle at high tide.  Oh, honorable mention to Eric Benet & Faith Evans for the R&B cover, but they clearly come in second place to the O.G.

Toto feat. Cheryl Lynn – Georgy Porgy DOWNLOAD

OK, so here’s where it gets interesting tho… So I’m like, who the hell are TOTO really?  Right, like of course they blesed the rains down in Africa, but like, who are these dudes, so WHITE and like why name the band Toto?  And I dont know the answer, BUT I do know after some DISCOGS research that they are a group of STUDIO MUSICIANS that together really made it happen.  The amazing thing here is that individually these dudes are SO PROLIFIC.  Especially the synthesizer players Steve Porcaro (thats homeboy at the top), Greg Phillinganes and David Paich.  Ok, so clearly from the size of the synth Pocaro’s patching on the top, he’s is absolutely ridiculous.  He’s got the late 70’s / early 80’s thing down, big ass hair, track pants (why not) and that hint of old school sleaze, not like greasy but like innate and powerful.  Phillinganes and Paich, I couldn’t find many pics from back in the day, but I’m sure they’re amazing.  BUT, its not the looks that peaked my interest, just ATTEMPT to fathom the volume of records, these guys have appeared on as a studio musicians, they are MASTER synthesizer men.  Here are some of the highlights:

• The Hues Corporation – Love Corporation (1975) – Keys by Paich
• Stevie Wonder – Songs In The Key Of Life (1976) – Phillinganes on “Contusion”, “Isnt She Lovely”, “Joy Inside My Tears” and “Saturn“
• Boz Scaggs – Lowdown (1976) – Arrangement by Paich. (Credited on King Britts remake from Ovum Recordings)
• Michael Jackson – Blame It On The Boogie (1978) – Keyboard arrangement by Phillinganes
• Donald Byrd – Thank You… For F.U.M.L. (Funking Up My Life) (1978) Phillinganes on piano
• Cheryl Lynn – Got To Be Real (1978) – Written by Paich
• Michael Jackson – Off The Wall (1979) - Porcaro programming synths, Phillinganes playing on every tune.  Also “Dont Stop Til You Get Enough” written by Phillinganes.
• Adrian Gurvitz – The Way I Feel (1979) – String arrangement by Porcaro and Paich.  Get Physical Records stole this album cover to make their logo!
• The Brothers Johnson – LIght Up The Night (1980) – Porcaro programming synths, Phillinganes plays on “Stomp!”.
• Herb Albert – Magic Man (1981) – Porcaro on synths
• Donna Summer – Donna Summer (1982) – Porcaro and Paich synth arrangement and programming, Phillinganes on almost every tune
• Michael Jackson – Thriller (1982) – “Human Nature” WRITTEN by Porcaro, apperances by Paich
• Chaka Khan – I Feel For You LP – Porcaro makes appearence on “Hold Her”

SORRY, JUST A SIDE NOTE.  Chaka Khan “I Feel For You” was actually written by Prince, with raps by Grandmaster Melle Mel and Stevie Wonder on Harmonica!  Ultimate.

• The Jacksons – Victory (1984) – Produced by Paich and Porcaro
• Lionel Richie – Dancing On The Ceiling (1986) – Phillinganes on five out of nine tunes.
• Michael Jackson – Bad (1987) – Porcaro synth programming and Paich synth performance on “Liberian Girl” and “I Just Can’t Stop Loving You”. Phillinganes on “Bad”, “Speed Demon”, “Just Good Friends” and “Smooth Criminal”
• Michael Jackson – Heal The World (1991) – Porcaro and Paich play synths
• Kenny Loggins – Return to Pooh Corner (1994) – Phillinganes on “Rainbow Connection” BWAAAHHAHA, i’m sure it paid
• Quincy Jones – Q’s Juke Joint (1995) – Brief appearances by Porcaro, Phillinganes on almost every tune.

This list goes on and on, including Pointer Sisters, Earth Wind & Fire, Jefferson Airplane, George Benson, Dolly Parton, Earl Klugh, Eric Clapton, Olivia Newton John, Anita Baker, Bette Midler, Paul Simon, Christina Aguilera.

Whew, ok enough for now.  Go do some research of your own.  Take any major album or song from your past and get digging, it’ll blow your MIND.  Shout out to Koochievision.

UPDATE 9/17: Official minitek apology.

There’s no need for us to post a review of the minitek festival, which on the Soul Clap blog will forever be known as minirek. If you really want to know what went down, check out the Resident Advisor or Rhythmism forums, or for a more positive review check out Daily Session, who we have to thank for recording and posting all the live sets from the festival (unfortunately even this didn’t go smoothly). It’s not that we didn’t have a great time partying outside Saturday & Sunday at Coney Island or late night at Wolf + Lamb & Cheap Sunglasses @ Cielo, it’s just that our homie Henry from AirDrop was (I think) the only full-time staff that the minimoo crew hired to help with the festival, before disappearing/hiding/? for the whole weekend, and after all the stress and responsibility ended up on his shoulders and nearly gave him a nervous breakdown, it’s pretty hard for me look at the festival in a positive light. Either way, there were some great moments, but the best by far for me was Francois K’s set to close out the festival on Sunday. After 2 days of top international talent taking center stage, one of New York’s long-time innovators took the decks (and mic) and proudly reminded the crowd that while “everyone is talking about Berlin, let’s not forget Detroit!” Francois then proceeded to take us on a life-changing journey, capped off with storm sound efx that literally ushered in a cool breeze, and a modern twist on the classic MLK, I Have A Dream sample that replaced Dr. King’s voice with Obama’s and had everyone’s hands way in the air. Now all you loyal readers are lucky enough to get the highlight of minirek without paying top dollar and dealing with all the bullshit. Enjoy!

Francois K. – Live at minitek Sunday 9/14/08 DOWNLOAD

For more minirek mixes (pending approval) go here.

What do the best afterhours parties at WMC & Detroit Techno Fest and this weekend’s minitek festival have in common? Well, besides the obvious, the answer is Cheap Sunglasses and Temporary Tattoos aka the series of parties that our friends at Blk|Market Membership and Udder Maddness have been throwing at this year’s top US techno festivals. The theme for the minitek edition of Cheap Sunglasses is “Call In Sick To Work”, which is what we all will no doubt be doing after caping the weekend off with exclusive sets by Baby Ford and Mathias Tanzmann on one of NYC’s best sound systems (the Funktion One monster) at the heavenly Cielo. These parties are renowned for top quality music, great people, silly props and utter debaucherousness so make sure to get your pre-sale tickets (before they sell out like they have for the last 2) and come join the fun this Sunday.

Oh yeah, I almost forgot… here’s a little treat from Detroit’s Temporary Tattoo party to get you in the mood. I’ve been meaning to post this for awhile and this was the perfect opportunity

Martin Landsky Live @ Temporary Tattoos – 5/25/08 Oslo, Detroit DOWNLOAD

Clearly the Italoboyz are becoming borderline superheroes.  Hats off gentlemen, you’ve conquered Techno’s two greatest challenges:  DJing in front of a crowd of 1,000,000+ at this years Love Parade and stepping into the ring to face off with the Power Rangers, no holds barred, at Tokyo’s Wire Festival.

This live set is only 5 DAYS OLD, so enjoy!  Boyz, hope to have you back in Boston soon.

Italoboyz @ Wire Festival 2008, Yokohama Arena, Tokyo 8/30/08 Listen/Download

Today, after months of neglect we finally got down to organizing the record library. When that happens it usually means we listen to alot of music that’s been buried for awhile and pull forgotten favorites for upcoming gigs and now for Soul Clap Radio. One of the tunes we pulled this time around is this old white label that we never really knew the identity of. It’s this UK garage style cut-up R&B vocal over a bassy beat that we had just written “Gar’N'B?” on, because we could never find it on Discogs. Well if you haven’t noticed already we’re crazy about knowing everything about all the music we hear and it drives me nuts when I don’t know what something is. Thank god for Google! After re-examining the vinyl I confirmed that the catalog number was “Subfunk 7″, I punched that into Google and found this old page. Now I knew that the label was called Subfunk, the artist was Wesley Jay and the record was “Da Gasoline”, but when I searched on Discogs I still couldn’t find the release. Subfunk was there, but all the catalog numbers were in a different format and Wesley Jay was spelled Wesley J. Well after more Google searching I found this shop that has the same vinyl with an audio sample that confirmed that yes our record is indeed the same Subfunk 7, “Da Gasoline” by Wesley Jay. So I headed back to Discogs and added the release and ripped the vinyl so I could share the story with you. Oh I forgot to mention the best part, look at the picture of this dude. Where fore arte thou Sir Wesley J? And what is that mirror? WTF?  Just a little lesson in vinyl research from Soul Clap to you, because it’s just how we do everyday.

Wesley Jay – Da Gasoline (Side A) [Subfunk 7 - 2001] DOWNLOAD