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There are currently 251 mixes on this page, the last was uploaded on 07/10/2017 13:29:14

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Mix Info:Absolutely Loving It! 5:17mins @130BPM Funky Vocal House

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Some funky house for the bank holiday enjoy! More music on Sound Cloud

US2K Review: This is totally excellent funky house. The final score is 10 out of 10 and the artist is to have instead of further reviews promotion in the form of a Halloween video for 'The Creeps' in 2013.

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Mix Info:Zodiac Radio Tech House Mix 3:58mins @128BPM Old Detroit Tech House

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US2K Review: This mix starts with the exciting female vocal "Does it Feel Electric", after which a rather foot-tapping rhythm is heard on some orchestral toms. Immediately Bomb Da Bass comes to mind as an influence either intentionally or by complete accident .

After twelve seconds a clap playing a syncopated rhythm of the tom enters the mix adding more interest and energy for the listener. This continues to the 19 seconds position at which point a bass drum and snare joins the existing rhythm to drive it with a four on the floor pattern, snare obviously playing every second beat accents and occasional fills or rolls, and some subtle wooden block percussion is also dropped into the mix every so often. This is the full drum and rhythm instrument arrangement for this music production and I consider it to be the main mix groove pattern. This continues to the 43 seconds position at which point the "Electric" part of the introduction vocal is used to introduced a pair of electro saw synths (or one at two octaves) playing a typical raspy harsh lead electronic melody often heard in early warehouse music and electro.

This synth concept with the already pointed out main mix groove pattern could be considered to be mix main hook 1. The new lead continues to the one minute position after which point it leaves the rest of the mix to continue with the toms leading and sounding fresh again for a further 11 seconds. at which pint a new stuttering female vocal "C, C, C Come C, C, Come On" is heard which is no doubt inspired by Paul Hardcastle' s 19, another house artist whom was massive at one point when “Bomb Da bass” was first popular. After the vocal the rhythm continues to the one minute twenty seven seconds position at which point a snare fill is used as a musical cue point to re-introduce the harsh synth lead from earlier, playing a higher octave happier note sequence.

The synths and drum pattern continue to the two minute one seconds position after which the "C, C, C Come C, C, Come On" stuttering vocal enters the mix again . When the vocal leaves the mix so does the synth line, but despite the change the tom and drum pattern do not sound as fresh as the previous time, often an issue in very early oldskool and was probably why the later rave movement would have often had a happy piano, string or uplifting sung vocal as a bridge section in the middle of the mix.

The music continues to the two minute 14 seconds position starting to sound a little monotonous but at that point the "Electric" vocal comes to the rescue re-introducing the synth (s) from earlier playing melodies based on earlier melodies but with a chang to sound more rhythmic and danceable (probably syncopating with toms more).

The first of the new melodies is simpler and at higher octave than the second, which although more sophisticated is still very rhythmic. This continues to the three minute nineteen seconds at which point a new vocal is heard "does it Feel Electric" an entirely new synth pattern is heard which is absolutely simple, rhythmic and danceable but well catchy.

The new concepts last to the three minute forty nine position at which the listener is left with the main mix groove to fade out to silence at the three minute fifty eight seconds position.

My final evaluation of this mix includes the following factors. General demonstration of music skill (9/10), use of musical variation including melody or arrangement change , (8/10), use of sound effects or drum rolls to add interest to the mix (9/10), Sound engineering including use of equalisation, reverb, delay, panning, compression etc. (9/10), catchiness and suitability for the dance floor (7/10), wide audience appeal (7/10). Use of cue points, drum rolls, sound effects etc. to announce changes. (10/10), overall score (8/10)

Bassmom/Shari Keller has somehow (completely by accident I am sure) recreated the atmosphere of listening to detroit house music in the early days of Kiss Fm. At the time Steve Jackson, Colin Faver (RIP) and Colin Dale were the dj' s. Back then Bassmom would have had this mix in demand as a white label. Bomb the Bass' s 'Beat This' and 'Thunderbirds Are Go' house mixes come to mind. This is worth listening to if you want to remember the good old early days of the London and Detroit 'Abstract Dance Chart'.

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Mix Info:Mood set 2011 0903 part 8 2:58mins @128BPM Minimal Techno (90s influences)

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This is part 8

US2K Review: This minimal tech mix (which is part of a larger set of Dj Mood' s music) begins with a sustained whirring sound effect and two layers of percussion. Layer 1 is very abstract, with synthetic sounding tom electronic bass (or both played simultaneously), and white noise either with attack, release, sustain, decay adjusted, simply gated or side-chained to behave more like a snare, and another rhythm played with another electronic sound which resembles a tennis ball being hit.

The 2nd layer of percussion is a foundation for driving the mix, is most likely to be a more conventional 4/4 house drum loop including bass drum, snares, hi-hats, shakers, tambourines etc. with the bass frequencies cut via eq, a high pass filter or kill switch of some type. The laying of rhythms is very important, they are skilfully organised so the tom plays syncopations of the underlying house drum loop, if it were not so this minimal mix would become monotonous very quickly, instead the rhythm is almost hypnotic.

After 10s a fill on a high frequency clap followed by a long burst of lower frequency white noise (acts as a crash) introduces another of changes to the mix. The first is the bass eq of the underlying 4/4 house drum loop being allowed into the mix, the others are some new percussion alternating left/right of the stereo-field, which could either be "out-of-the-box" pitched electro glitch fx or a snare (s) flanged, distorted and possibly pitch bent to provide a sound which is both metallic and squelchy in its characteristics.

I nearly forgot an additional standard clap/snare is introduced to strengthen the existing accent snare which at this point has been weakened by the bass drum gaining its bottom end with the introduction of the lower frequencies. This pattern I regard to be the main drum pattern for the mix.

As the listener progresses to the 19s position there is a white noise based snare which plays a fill as the low frequency percussion instruments are dropped simultaneously to create a basic but functional bridge section. The cue point for the bridge has been created by the 1st white noise snare hit. The change is unusual, in theory is abrupt, but works unexpectedly well. At the 22s position all removed percussion instruments return, and the full main drum pattern for the mix has been re-instated sounding fresh once again.

The drum pattern remains interesting for a further 17s with aid from occasional wooden block percussion, and the whirring which has been heard since the the mix, "winding down" to a lower frequency. The descend of the whirr is used to “sweep-down” the listener to another bridge section.

The next bridge begins at the 48s position with all bottom end instruments and snares removed again as with the other bridges, but the difference this time is that the cymbals, shakers, tambourines are thinned out too. For a split moment only the tom and clap which now in isolation at times is clearly heard to be flanged and pitch effected and could have been the same squelchy/metallic instrument heard earlier (difficult to know with so much mix trickery taking place), and of course the whirr.

The whirr is used in conjunction with a tom fill to announce the end of the bridge this time when it varies in pitch again. After the bridge end at the 42s position, the drum pattern can be heard but with the synthetic tom reduced in volume & wooden block percussion now leading the rhythm. This new rhythm arrangement continues as the whirr is faded out to almost silence, & briefly faded in again whilst the frequency is changed at the same time in such a way to sound like a door creaking open, providing a cue point for all drums and rhythm instruments from the drum pattern to leave the mix, being substituted temporarily by some very subtle panning electronic (vox like in frequency) percussion.

The majority of the main drum pattern returns but after briefly hearing the bass drum, the listener is left to hear mainly mid frequency percussion instruments instead of previously the high frequency ones, but with standard clap, hi-hat/shaker and tambourine, significant parts of a 4/4 are now leading the mix.

As the new drum pattern progresses to the 1m 26s position, it becomes apparent some drum trickery was achieved with a filter sweep. The drum frequencies are ducking and rising subtly in much the same way the notes do on an acid synth.

The most common use of filter drum loops is of course in drum & bass but this minimal techno has benefitted greatly too. The technique means that a mix can be varied endlessly without actually changing the drum pattern in any way, if the producer wish that of course.

The mix continues from the 1m 26s position using a cut down version of the main drum pattern (main drum pattern 2). The tom is evident as before but the glitch fx, pitch effected/flanged snares, and wooden blocks are missing from, less interesting but works due to the late stage of the the mix. The rhythm proceeds to the 1m 53s position, with interest added to the mix with the use of a reverse cymbal at the 1m 41s position.

Shortly after the 1m 53s position, the full drum arrangement is briefly dropped and the `tennis ball hit` returns briefly for a very short duet with the tom which at this point acts more like a bass instrument. The short moment of duet adds enough interest to the mix to allow main drum pattern 2 to continue for a relatively long time for a further 27s, with the aid of eq and/or filter sweep at the 2m 6s to cut the bass and treble frequencies and again 17s later to give a ducking effect by gradually sweeping out different high frequencies.

As the drum pattern comes out of the duck at the minute 23s position either something very clever has been done with the sweep, or delay has been added to an existing percussive instrument or more likely, an additional shaker or hi hat has been added to the mix. The gives great improvement to mix at a point where it was starting to become monotonous, but further enhancements take place 12s after in the form of a brief additional snare drum to give a harder accent to the second beat of the underlying 4/4 bass drum.

Although it is removed as quick as it arrived because its duel purpose has been achieved at this point, which is to introduce some subtle atmospheric percussion to the drum pattern for the conclusion. The drum pattern is fresher sounding again and works until the entire mix ends by fading out, although it has to be noted this mix has been cut from a longer dj set and so the fade was originally to another mix within it.

Listening to this mix again four years later, it is not really that danceable to the wide audience but minimal fans might tap their foot to it. My final evaluation of this mix is includes the following factors, demonstration of general musical skill (9/10), use of sound effects, drum fills or well chosen musical cues for changes (10/10), Addictiveness or catchiness of melody (the drums actually play a form of percussive melody even though there is no melodic instrument anywhere is the mix 6/10), Variation of music in the form of melody changes, arrangement changes and instrument positioning (6/10), Use of sound effects, drum fills etc to add further interest to the mix (9/10), Wide audience appeal (5/10) , Sound engineering including use of equalisation, delay, reverb, filter sweeps, stereo-panning , compression, flange etc. (there is some very clever filter work going on in this mix 9/10). The final overall score to this mix is of 7 out of 10.

Dance/club djs will find some of the strong rhythms useful if mixed with more melody music, near the start of this track. Anyone who is a fan of listening or minimal techno with a 90s influence will really enjoy this mix if melody is not the most important thing to them.

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Mix Info:Fast Freddy 5:48mins @140BPM Commerical Electro / Tech Trance Hybrid

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samely met guetta!! and who is freddy then?

US2K Review: This mix begins begins with dance floor synth melody which sounds powerful enough to created with a bass and a lead playing the name notes or some other system of layering instrument notes, main hook 1 for the mix is forming. The synth is accompanied with four on the floor bass drum, and a series of percussive instruments are faded in, the first most likely to be a closed hi-hat and the second a cow bell or agogo. Also a string in the centre of the stereo field is also slowly brought into the mix reach full intensity at the 7 seconds play position before a vox "Come On, Get Up" is heard, and more additional percussion on an electronic tom-like instrument is introduced, and the first variety of main hook one for the mix is now fully formed.

A harmony for the main hook is faded in on roughly two instruments; one is a bell like sound, and the other a pad synth. The combination of these instruments is already very danceable but the listener is treated to yet another bass line playing a rhythm for the foot to tap to the hips to wriggle to. This theme continues to the eight seconds mix position before a whoosh/sweep sound and an atmospheric "Oh" (and possible an "ooh" or a flute instrument layered with it although this could be a musical illusion from the fx applied to it) vox introduces a major change in the mix, in the form of due to the structure, not a first bridge but a second hook chorus section.

A chorus is formed by removal of most the instruments except a bass line playing a variation of the main hook, the electronic tom-like percussive synth and a new delay/reverb treated higher pitched percussion sound right of the stereo-field. It has the very successful effect of raising excitement and anticipation for the listener, before another "oh" provides and opportunity an open hat to join the arrangement. After the hi-hat has been introduced a pad/string which has been equalised and panned so that it sits behind the rest of the mix slowly rises in intensity to the thirty nine seconds position.

After the forty seconds position a steam emission sound is used instead of a crash to provide a musical cue for all drum and percussion instruments to leave the mix and the opportunity for the return of main mix hook 1, by which time is evidently a verse. Interestly enough the vox from the chorus, "Oh" is used instead. Although there is a vox change, the percussion, synth, string concepts are mostly the same as that heard in the introduction verse, with the exception of a mid-octave harpsichord type synth playing a rhythm similar one of the bass lines earlier in the mix. This theme continues to the minute section before an "Oh" vox re-introduces the full drum pattern.

Once the drums return to the mix, other than the vox everything else is very similiar to the addictive introduction. The artist exploits this fact by rising the harmonising instruments in the same way making it seem as though the chorus is imminent, but its all an intelligent trick, because instead the verse hook is able to sound fresh again and continue for a few more repeats.

The verse finishes on another "Oh" vox at the one minute thirty six seconds position, after which a variation of the chorus hook (previously bass, percussion and vox) is heard. This time there is a a warm sounding pad and less hi-pitched abstract electronic percussion, an open hi hat is used instead, and the vox from from the introduction verse, "Come On Get Up" is used to drive the arrangement instead of an "Oh".

The music continues to the two minute mix position at which point the bass line which is leading by this points plays some repeats of part of its melody line and some intermitted sweepy/flanged/reverbed piano or guitar) sounds are heard panning left to right twice before a "Come On" introduces for the first time in the mix a right panned high octave reverb treated bass line.

the new higher pitched bass adds some extra intensity and excitement to the music, before the lower bass is left to lead again. This concept is repeated a few times each time creating more anticaption for the listener, before a short bridge section is reached achieved with bass line and percussion (possibly some higher frequencies have been cut with an equaliser or filter of some type).

A few split seconds later a steam emission sound and an "Oh" vox is used as crash to announce the verse again and after further repeats a flute-like or higher pitched square wave instrument is more evidently layered with "Oh" because it plays without the vox at least once, very clever, great results similar to layering an un-pitched metal bar hit behind a synth note, thickens and adds power to the sound.

The full arrangement verse including strings and drums continues to the three minute twenty five seconds position at which point an "Oh" announces the departure of the drums from the mix.

The strings take lead and the remaining instruments continue for two further repeats with the alternative "Come On Vocal". This concept readies the listener for an imminent change which takes place in the form of a very trancey/ravey saw tooth synth hook anthem melody line over a four on the floor bass drum and it is seriously an arm waving moment. Slowly the verse hook and its full drum pattern is faded in underneath the anthem melody.

Although a saw wave synth anthem accompanied with full triad chords would have provided a cliche crescendo ending which ravers love, instead keeping to the chosen structure once the verse hook has reached full intensity at the four minute thirteen seconds position a whoosh sound re-introduces the chorus bass line and percussion for the conclusion of the mix. To maintain interest for the listener lots of ideas from earlier in the composition are heard as the mix progresses, including panning fx treated piano/guitar notes.

The familiar ideas continue to the five minute six seconds after which a left panned high pitch sweep introduces a new theme which is a thinned out drum pattern (no hi hat and electronic percussion removed) and a chorus playing accompanied by a series of intermittent intense high octave rising string notes.

The string and bass concept continues for the final moments of the mix but with the lead bass line either treated with a very short delay or layered at two octaves to create a very think modern bass synth not that different to recent dance music artists have been known to use.

Unusual for this type of conclusion the bass drum continues to the end and a final snare is even heard before one last high pitched sweep finishes the mix at the five minutes forty eight seconds position.

My final evaluation scores for this mix which is a mammoth effort with so many “twists and turns” and subtle/less subtle variations, are: Demonstration of general musical skill including understanding of key, and natural musical cues for changes (10/10), catchiness/addictive qualities (10/10), use of melody, arrangement and harmony variation to add interest (10/10), use of sound effects, vox, drum fills etc. to announce changes and enhance mix appeal (10/10), sound engineering techniques such as panning, reverb, delay, equalising, compression and other sound effect application (10/10), one comment here is it did not make the music any less enjoyable but wondered why no reverb was applied to the steam emission crash sound.. A skilled dj could make this mix work easily on the dance floor even if they did not play the conclusion, although the fact the mix begins and ends in full musical arrangement could provide them a challenge. The wide audience appeal for this mix is ten out of ten

My final conclusion is this commercial quality electro / techno hybrid inspired by Paul Guetta and Freddie Le Grande is it is well worth a listen for fans of techno, electro, dance or trance music of any type.

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Mix Info:Dj Mood Set 2011_09_03 Part 7 2:31mins @126BPM Minimal Techno

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The rest of the set. More of my music by dj Mood here

US2K Review: This minimal techno mix begins with what sounds like a machine starting. This rises slightly in pitch as it fades in to form a sweep up to the seven seconds position. At the end of the sweep there a steamy sounding crash and an almost clock-work rhythm, formed from two types of tom, a bass drum, clap and a closed hat, and a higher note wooden block. The rhythm although mostly mechanical has a slight syncopation of the instruments which enables the mix to retain interest. Also the low tom drum does not just function as simply a percussion instrument, it also creates a bassline.

The beginning of every four to eight beats is accented by two electronic musical notes in descending pitch, from my ear it is highly likely to be simply the same note at high to low octave but difficult to tell without analysing the mix in more detail, but the fact the note is resolving itself it is either that or a note five notes up. This pattern continues to the forty seconds position, at which point there is an important change.

After the forty seconds position later this is the skilful addition of an additional "treble only" snare left and right of the stereo-field to add interest to the mix an announce a more important change. The sound effect which introduced the mix is heard very subtly to introduce an additional rhythm on a new high tom which immediately takes lead.

On its arrival in the centre of the mix becomes very addictive (well as much as percussion alone can achieve) , because the snare left and right is syncopated in the gaps of the new instrument. This continues to the one minute ten seconds position after which a single hit of a "steamy/hissy" sounding snare is heard centre-right of the stereo-field to add some intensity and variation to the mix.

After the steamy/hissy snare the mix continues with out but at the twenty six seconds position it is heard again (twice this time) to provide an intelligent method of removing the instrument that made the mix so addictive.
,br>After removal of the addictive instrument the composition resumes a theme not dissimilar to the mix introduction, this is only briefly though because another change is soon to happen.

At the one minute thirty five seconds position a tambourine is faded in which when it reaches full strength adds energy to the mix, and then when the mix is already very interesting the an alternative version of the introduction sweep is faded in quite loudly up to the one fifty four seconds position. The main difference with the sound this time is that it ends lower in pitch instead of high, so could be considered an upwards sweep. The sweep is used in addition to a last snare hit to introduce some further electronic pitched percussion right of the stereo position.

The newly note sequence creates an answering melody for the two notes which were used throughout the mix as an accent. The resulting musical arrangement indicates a climatic point for the mix.

The mix continues unchanged to the two minute six seconds point some white noise to play an intermittent answering rhythm for the existing pitched electronic percussive notes in the mix. After two repeats the tambourine leaves the mix, and the white noise then takes joint lead of the mix with a closed hi hat.

The final moments of the mix involve a very short fade in of the earlier tambourine to a higher loudness than heard before and if it was not already obvious to the listener, one last note rising version of the now familiar sweep effects is used to confirm the mix is ending.

The final closure of the mix is achieved with the entire musical arrangement is faded out cleanly to silence at the two minute thirty one seconds position.

My final evaluation of this mix is demonstration of general musical skill (10/10), catchiness (8/10), use of variation in melody variation, arrangement, sound effects rolls etc. to maintain freshness to the mix, use of sound effects and drum rolls to introduce musical changes ( 10/10), use of compression, equalisation, reverb , delay, stereo-position and after sound engineering effects or techniques (8/10), wide audience appeal (7/10). My final conclusion is this is a very competent minimal techno production and fans of the genre should enjoy it very much.

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Mix Info:Pita Pita 6:30mins @128BPM American Electro Vocal

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Some Amercian Electro for you! More of my music at soundcloud

US2K Review: This artist only requires promotion so there is no review

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