Known for his deep roots in classic New York house and his ability to add a fresh, modern twist, Romero delivers a standout production that sets the tone for a promising 2025 in dance music. The premiere of the title track on Data Transmission offers an exclusive first listen to this hypnotic and energetic club weapon.

‘Nice To Meet You’ is a masterful blend of bold and unexpected elements. At its core, a kazoo melody drives the track, providing a playful yet commanding presence, while the raw low-end energy keeps it grounded on the dancefloor.

“Rekids has always been on the top of my list as a DJ, and I’ve always wanted a release on such a dope label. This is a proper bucket list release for me, and I’m beyond excited for everyone to hear these two tracks.”

Romero shares his excitement:

The expertly crafted breakdowns and explosive drops are quintessential Romero, showcasing the precision and creativity that have defined his career. With this release, the Bambossa Records founder cements his reputation as a producer who can seamlessly merge timeless house influences with forward-thinking production techniques.

The ‘Nice To Meet You’ EP showcases why Romero remains a dance music powerhouse after over two decades, with this release marking another milestone in his illustrious career.

Release Date: 24th January 2025
Pre-Order: https://orcd.co/rekids256

Check out ‘Nice To Meet You’ here on Data Transmission and grab it on Beatport here.

The post Harry Romero lands on Rekids with ‘Nice To Meet You’ appeared first on Data Transmission.

Residing in London, Italian-born CASSIMM has built quite the reputation on the underground house music scene through both his high-profile productions and analogue-rich sets. A sound flushed with contrasting shades of house, CASSIMM’s take on dance music and all its distinct nuances have elevated him to one of the most renowned and popular booking artists on the international circuit. His musical education and deep understanding of the underground dance music classification is evident within a frequency that emphatically sweeps the full spectrum of the house genre.

CASSIMM lands on Radio Slave’s Rekids for the first time with the ‘House of Moves’ EP. It kicks off with ‘Body And Soul’, a hands-in-the-air affair backed by a slick, Jackin’ Tech House groove and earworm vocal. It’s a surefire recipe to tease the crowd into a dancefloor moment before CASSIMM’s ‘I Hear You’ comes in with plenty of soul on the B-side. Dubby House chords form the base above swinging organic percussion, with another classic vocal working the nostalgia on top. Closing out the EP is the infectious ‘What Ya Looking At’, featuring stripped-back rhythm and big drops set to make for an even bigger crowd reaction.

Signing to Rekids off the back of many Radio Slave-supported edits, CASSIMM debuts on the label after the Beatport chart-topping ‘Say Yeah’ and ‘Love Desire, with supporters like Honey Dijon and Rekids affiliate Nic Fanciulli. CASSIMM’s ‘House of Moves’ EP on Rekids will be released this May and once again shows his ability to deliver big, memorable house cuts.

We premiere ‘What Ya Looking At’ on Data Transmission, check it out here and grab it on Beatport.

The post CASSIMM debuts on Rekids with the jackin’ ‘House of Moves’ EP appeared first on Data Transmission.

The process of recording and producing the album utilised a hybrid of digital and analogue technology, fusing the live sequencing/recording possibilities of digital audio workstations such as Ableton live with vintage analogue machines such as the Roland TR-909 drum Machine, Roland SH-09 synth, Elektor Formant Modular synth, Pro-1 and Doepfer Dark Energy MKI.

TEN is a 360 production concept, all writing, recording, mixing and mastering was conducted by Hybrasil at HBL Studios Berlin. A momentous release for the Irishman, celebrating the life of his label, as he tightens his grip on another prolific chapter in 2021, adapting his live shows and further outstanding releases already scheduled on the calendar.

You can listen to the three of the ‘TEN’ here on Data Transmission and the whole album is out now on Beatport.

Tracklisting:

1. Divano
2. This One
3. Ernon
4. The Alliance
5. Quantum
6. Remote
7. Bridge48
8. Oval
9. DE03
10. Amora

The post Hybrasil Constructs Album Entitled “TEN” appeared first on Data Transmission.

Matt Edwards drops his eagerly anticipated debut Radio Slave album ‘Feel The Same’ via his Rekids imprint in September.

Easily his most recognisable nom de plume, Radio Slave was initially Matt’s pseudonym for remixes, with early reinterpretations of Kylie Minogue and New Order leading into frequent work for both major and independent labels. He’s now indisputably one of House and Techno’s most in-demand remixers, whilst original Radio Slave productions have gone on to appear via reputable imprints like Running Back, R&S, Ostgut Ton, Nonplus and Work Them Records.

The album is a culmination of years as a DJ, producer and remixer; with influences spanning a range of genres such as breaks and jungle, acid, Balearic, ambient, dub, Chicago and also vocal samples exemplary of the Radio Slave sound. The album navigates between syncopated beats and ethereal voices as found in ‘Forana’, which is the first single of the album and you can hear below.

Radio Slave ‘Feel The Same’ LP drops on CD, triple LP and digital via Rekids on 15th September 2017.

Tracklist:

A.1 – 2nd Home
A.2 – Forana
A.3 – Feel The Same

B.1 – Trans
B.2 – Draw

C.1 – Axis
C.2 – 101

D.1 – Geisterstadt
D.2 – Parallels

E.1 – With You
E.2 – No Words / Just This

F.1 – Rize
F.2 – Gaikokujin

The post Radio Slave announces his debut LP ‘Feel The Same’ appeared first on Data Transmission.

Floorplan have remixed Radio Slave ‘Feel The Same’ twice for their next release on Rekids on 28th July 2017.

Made up of former Underground Resistance member Robert Hood and his daughter Lyric, the Detroit duo needs little introduction and last year saw the release of their illustrious album ‘Victorious’ on Hood’s M-Plant.

The first remix of ‘Feel The Same’ extends to eight minutes long and is a journey; incorporating echoing chords, intricate percussion and a medley of esoteric effects whilst cackling laughter ebbs in and out of the mix. Meanwhile, the flip sees a more up front interpretation with its heady hook, rolling drums and energetic claps

Tracklist:
A Feel The Same (Floorplan Remix 1)
B Feel The Same (Floorplan Remix 2)

The post Floorplan remixes Radio Slave appeared first on Data Transmission.

Whether it’s his functional output as DJ Spider, the gloom of his Spider Bites material or his symbiotic production relationships, Rob Hampton has homed in on his craft while adopting a signature sound in the process. It only takes a quick listen of his material on his Bandcamp page to understand the length and breadth of the musical realm he operates in and what gets him going. Ahead of his appearance at 29 HOURS by THE29NOV films + STAUB, at Berlin’s ://about blank, DT caught up with the man himself to find out what shaped his unique flavour of electronic music. 

So you grew up in New Jersey, can you explain the reasons behind your move to New York?

I moved to New York when I was 20. That was in 96. Of course it was the always dream to live there. I’ve always been an artist, even as a kid. Playing music, I knew that I wanted to play music in New York. I’m back now in Jersey City, where my family is from. When I moved to New York I stayed there for 20 years.

So was that the main reason? Music?

Actually it was cooking. I went to cookery school after high school. I went to the New York Restaurant School. I graduated in 94 and I started working and cooking until about 2002. Got burnt out! It’s great I love it, but it’s a lot of work. The industry demands a lot. I went through other changes as well, so I basically just stopped it. But that’s why I went, it wasn’t just for music. I was in a band so I still wanted to make music, but I was gonna cook. Then I found out that you don’t have much time to rehearse and do things when you’re cooking! Especially with this, when you start out you gotta put all your time into it. In order to hone your craft and be good at it.

Cool. I understand you can credit your roots to hip hop and metal, did you go any further than listening to them? Did you make a lot of either?

Absolutely. I was in a Death Metal band.

What were they called?

Hell! [Laughs]. It ended up being a studio project so it was just me playing everything other than the drums. But yeah, death metal, hip hop. I’ve made some hip hop, I’ve never released any hip hop with vocals but it’s a goal of mine in the future, I think I’m probably going to branch out. Do that as well as other things too, like jazz, pop, hip hop, and other genres. I wanna do it all. I wanna keep producing and work with other people because I listen to such a variety of music daily.

We’re enjoying listening to artists making house or techno that’s been inspired by music that isn’t house or techno. It’s great to see people blurring genre boundaries.

That’s a very interesting perspective. You can do that because there’s so much techno but when I was growing up… there was no techno! There was no house, there was no techno and many other sub-genres of metal, didn’t even exist in the 80s when I was a kid.

Did you ever feel like you were an outsider when you first got into electronic music? I guess it wasn’t in its heyday when you grew up.

Absolutely! And I wasn’t into it then. I’m quite fresh to this too. In the 90s when I was partying and hanging out in New York, I wasn’t going to clubs to hear the big DJs at that time. I had been to some legendary clubs, and probably legendary nights but I was there for a different reason. I was more into partying and meeting people than the music in those days.

There seems to be a running thread of gritty, raw sounds running through your discography – is this a key element, all the different shades of anger?

Well, yeah I’m angry! I’m pissed off with the world. In a good way. I’ve had my rebel years and I’ve done a lot of crazy shit but… on the positive end of the spectrum, which is how I try to live today through positivity. With the state of the world – I’m angry at the state of the world. I guess with the aesthetic and the sound of it, people are thinking of it as the ‘analogue sound’, which it doesn’t have to be analogue to be gritty, you can be gritty with digital too. I just like warm, harsh, offensive sounds. The more offensive and harsh it is, the cooler it is. I like pretty stuff too, but when I’m producing music yes, because it’s so emotional and it’s coming from the inside, it’s usually a little bit harder or angrier or harsher or gritty.

Do you think it’s influenced from the metal days?

Absolutely. All the noise, all the industrial stuff, you know what I’m saying? All the anger mixed with that. It can be a toxic soup of audio.

So the hip hop you were listening to wasn’t the normal hip hop you’d hear. Was that the angrier stuff too?

I don’t like the candy coated hip hop. I was never into that. I was into the harder stuff.

Continued on page 2

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There’s just no stopping Nina Kraviz apparently. Having launched her own record label, трип earlier in the year, her imprint quickly lined up a number of releases that have thus far all hit the mark. Maintaining her momentum for 2015, Rekids have now revealed that they’ll be reissuing her self titled debut album this Christmas.

First released in 2012, Radioslave’s label are repressing the album across to slices of wax alongside a bonus 7-inch featuring two remixes of the Siberian producer’s breakthrough track ‘Ghetto Kraviz’ from Dance Mania stalwart DJ Slugo.

Arriving December 4th, you can get yourself reacquainted with ‘Ghetto Kraviz’ all over again below.

Tracklist
01. Walking In The Night feat. Hard Ton
02. Aus feat. King Aus On The Mic
03. Ghetto Kraviz
04. Taxi Talk
05. False Attraction
06. Working
07. Choices
08. Love Or Go
09. Best Friend
10. 4 Ben
11. Turn On The Radio
12. Petr
13. The Needle
14. Fire
15. Ghetto Kraviz (DJ Slugo Juke Remix)
16. Ghetto Kraviz (DJ Slugo Juke Remix 2)

The post Rekids Reissue Nina Kraviz’ Debut Album appeared first on Data Transmission.

Dentist, journalist, singer, DJ, producer and now label boss: Nina Kraviz has an impressive CV – but then, has worked for far longer than you may have realised to create it. “I’ve been playing for quite a long time” she tells Data Transmission, her soft Russian accent the only giveaway that English isn’t her native tongue. “I’ve operated within many different genres as I’ve been through different artistic phases over the course of my career. Acid, techno, even electro. I also had a disco stage and I was a funk DJ for two years. Sometimes I’d grab a mic and sing live; I’ve experimented a lot in order to hone my sound over the years.”

Kraviz introduced herself to the international community at large via a stint at Red Bull’s much coveted Music Academy, securing a place at the Melbourne edition after visa problems prevented her accepting an invitation to the Academy’s previous incarnation in Seattle. A series of impressive releases for some of electronic music’s most influential labels followed, with a host of tastemakers championing her work as her debut album landed on Rekids to critical acclaim. “I was releasing music on lots of really respected labels and that was a great experience” she recalls. “I joined Jus Ed’s Underground Quality family with house music and then released a 2 track 12-inch on Rekids that showed a more dancefloor orientated side of mine and me as a song-writer. Those two records opened up very different doors and introduced me to a whole new audience, but my defining sound always felt kind of separate. I always had my own vision.”

Nina is one of those DJs that we all feel like we know personally, perhaps because her sound is such a defined and emotive one, her performances seeing her make a connection with her audience like few of her contemporaries as she shares her passion for showcasing music that she loves. Thus, the decision to to take the next step in her musical career and launch a record label of her own seems a logical one, presenting her with a new opportunity to express herself, unburdened by the expectations of others. “I’ve always been a little bit of an outsider sonically” she says. Wishing to shine a spotlight on the sound that has become synonymous with her as an artist and satisfy a burning desire to foster emerging talent, for Nina the launch of трип was in many ways inevitable. “I have a very specific sound and when I dig for records, I know exactly what I am looking for” she explains.“It’s not linked to genre that much, it’s all about the texture, the feeling on it, the energy around it. It’s not obvious, it’s very subtle and has to have a very special vibe to it. That’s the definition of the music that I like.”

“I’ve always been very dedicated to representing who I am and I want трип to be an extension of that” she continues. “It has been a very long musical path I have travelled to get to where I am now. It was a long journey but no matter where I’ve played, be it a small venue or big festival I’ve always been true to myself, pushing my vision, my sound.”

On this endeavour though, she’s not alone with her new label already seeing her assemble a formidable roster of artists despite it being on only its second release. “I thought it was time for me to start my own family. I reached out to a lot of people who are very special to me, some of whom I have been following since I was a teenager, artists like Steve Stoll and Exos. It’s an honour to have them as part of my project.”

Mixing the contemporary with the classic, трип is nothing if not innovative with the imprints opening gambit ‘The Deviant Octopus’ showcasing the burgeoning outpost’s conceptual nature as works from the aforementioned Terrence Dixon and Steve Stoll rub shoulders with material from emerging talents Parrish Smith and Bjarki. Visualised by label affiliated artist Tombo following a dream Kraviz had wherein “an octopus appeared and devoured everyone in sight” the ‘The Deviant Octopus’ announced the arrival of the label with a bang, revealing itself to be the soundtrack of a ‘trip’ Kraviz had undergone within her imagination. So far both of her imprints opening releases have started life this way. “It’s like a film,” she asserts. “I can see it. I then get Tombo to illustrate the concept for me and following that assemble the music to complete the story. It’s not really accurate to describe ‘The Deviant Octopus’ or ‘De Niro Is Concerned’ as compilations. They are conceptual soundtracks.”

Inspired by a dream sequence conjured up within her mind wherein she envisaged actor Robert De Niro awakening in pain in the middle of the night, ‘De Niro Is Concerned’ soundtracks a scene in which the star has a late night epiphany and decides to pack his bags, leaving the hills of Hollywood for pastures new. Again Tombo was on hand to supply a visualisation. Featuring a modular cut recorded in Reykjavik earlier in the year in collaboration with Exos, the vinyl edition of the release also features a reissue of a self titled cut from Barcode Population, which gives the wax version of the extended EP a special significance. “There is one very special record in my collection that sounds like nothing else. It’s by ‘The Mind Drum’ and was released via little known English label Subvert Records. I played it on my Boiler Room show and a couple of months later someone left a package for me at Hardwax. I picked it up and didn’t really open it until I moved apartment six months later. When I opened it, there was a letter from a friend of The Mind Drum saying that he was surprised to hear me playing the record and he thought I might like some others too. Within the package there was this Barcode Population record, which is just amazing. It quickly became my most played record and crowds go crazy every time I play it. I had to re-release this track. It is exactly that type of trippy, going nowhere aura type of music that I want to have around my label.”

Fans of the track can expect to hear plenty more of the mysterious Barcode Population with Nina confirming that трип have already signed a host of tracks from the producer to release over the coming months. “He’s given me four more unreleased tracks to release” she smiles. “A few of them them are very fast and I don’t expect everyone to initially ‘get’ them but they are going to be out on трип later this year.”

With her label now firmly established we enquired as to whether a solo LP is on the horizon. “From me? You’ll have to wait and see about that,” she stated, before adding excitedly “трип does have an album in the works, Terrence Dixon is working on a full studio effort for the label. It’s a very exciting time for me. When a label starts out, it has the energy of the beginner. It has a desire to be the one. That creative spark. Raw enthusiasm and wonder. It’s like the first glance shared by two people that fall in love. It’s a powerful thing.”

Not lucky enough to have caught her in Edinburgh?  Fear not, you can still catch Nina doing her thing this summer as she takes to the decks alongside the likes of James Holden, Jon Hopkins and Rødhåd at this year’s edition of Dour Festival which runs from July 15-19th.

The post Nina Kraviz: Trippin’ Out appeared first on Data Transmission.

Offering 3 dusty, late night cuts from the man himself, plus an energetic remix from dance music’s hottest new star, Seven Davis Jr, the Resonate EP continues Mr. G explorations outside his own Phoenix G imprint, which has seen him release via the likes of REKIDS, Running Back and Don’t Be Afraid in recent years.

A strictly vinyl outing, Resonate will be limited to 324 pressings, each with a unique sleeve, hand painted by local artist David Addison. When combined, all the the sleeves will form a much larger image.

Just Jack will release Mr G’s Resonate EP on March 7th, in the meantime check out our Spotlight Mix from label heads Tom Rio and Dan Wild.

Tracklist:

01. TT Rum Bar
02. What They Think
03. Yo…
04. TT Rum Bar (Seven Davis Jr Remix)

The post Just Jack announce new EP from Mr. G appeared first on Data Transmission.

Label: Balance Music Score: 7.5/10

Matt Edwards AKA Radio Slave was a natural choice to steer an installment of the Balance series, though he’s also one that might raise a few eyebrows. A true force in house and techno in recent years, and the face behind the Rekids label, his always excellent DJing has also proved divisive at times. Here he walks the tightrope between straight-up club excursions, and leftfield adventuring; and he’s definitely indulged his experimental tendencies a little on Balance 023.

Using the double-disc format as a chance to creatively stretch his legs, the first ‘White Skies’ mix sees him crafting a familiar stripped-back journey into clubland, while the second ‘Maestros & Memories’ mix sees him compiling an eclectic, unpredictable downtempo journey. 

Each mix is bookended with a field recording made by Edwards, to reflect his own travelling to and from DJ gigs every weekend; it’s a clever approach that creates the right atmosphere, and offers a nice personal touch. Leaving Home… The Elevator Experience appropriately opens the club disc; it’s a prelude though for Edwards launching into a surge of stripped back minimalism, beginning in extremely techy fashion thanks to Stephan G & The Persuader Kaos.

Masterfully administered by Edwards, the driving pound of the four-four is joined intermittedly by melodies weaving in and out, ebbing and flowing with the pulse of the mix. These two elements are juggled masterfully via a seamless transition from Julien Perez’s pulsing Road to Dub, though to the gorgeous Makam mix of Delano Smith Partier. He’s keeping things deep hypnotic for the sublime first half of the mix.

The second half is where he dares to steer things leftfield, and the warped strings that puncture the pulsing kick in his remix of Pooley & Parker’s Lurchen Und Eulen signal he’s taking us down an adventurous route for the rest of the mix. Edwards’ natural inclination is to challenge, and we were never gonna get a straightforward club mix; but it’s all executed with a deft hand.

Early on in the second ‘Maestros & Memories’ mix, we get one of the ambient centrepieces from Vince Watson’s ambient Serence album, which Edwards released on his experimental Pyramids of Mars sub-label earlier this year; it wouldn’t be untoward to assume this is the groundwork he’s setting up for the remainder of the mix. However, Edwards doesn’t let the vibe hold still or settle into a groove at all, preferring instead to explore an eclectic, and often quirky collection of sounds; he’s more interested in giving us a peek into his private record collection in the fashion of one of the classic Back to Mine mixes.

There’s a number of sharp changes in emotion and tone, and for every piece of beautiful shimmering electronic music like Portico Quartet’s Laker Boo, there’s another offering that takes us completely of the realm of straightforward downtempo electronica. It’s a very clever look into his own personal tastes, revealing his natural affinity with experimental music. 

Radio Slave’s Balance reveals the eclectic nature of both his musicality, as well as his musical tastes. It’s definitely one of the more tempered and restrained entries into the series; it’s likely to be enjoyed and respected by many, rather than one that is listened to on repeat. For what Radio Slave is trying to do though, you can’t fault the execution. 

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