Some little tips on organising tracks for DJ sets

With the rise of music’s digitalisation, one of the major challenges DJs have to face nowadays is organising the huge amount of tunes for their sets – what’s the best way to categorise and arrange them so that you can make the full use of them during your performance? In this post I’m going to talk about how renaming and sorting your tracks properly can greatly facilitate your creative process when using DJing software.

So here’s an example of the music files in my dance music database: Dance Like Paranoid (Marcel Dettmann Remix)_Terence Fixmer_8A.wav

It starts with the track title (including the title of the remix), followed by the artist of the original and then the key code. I’ll get into the details about the key code shortly but the reason why I always include those information is that when you’re on the stage it’s always better to keep your thoughts flowing as quickly and smoothly as possible; sometimes when a track springs to mind you may only be able to remember bits and pieces of the information of it, for example, “a remix of Terence  Fixmer” or “a Marcel Dettman remix”, instead of the whole package of the track’s info. Spending too much time looking for a track will waste your time for improvisation and kill your flow, therefore including enough information in the file name will certainly help you fetch the next track with the search engine easily and keep your momentum going.

As for the key code, I’m sure a lot of people have used or at least heard of the Mixed In Key programme, which analyses the keys of tracks and assigns key codes to them according to the Camelot Wheel. The concept behind mixing in key is that tracks in the same key as well as some specifically related keys can theoretically blend more smoothly. In the Camelot Wheel each key has a key code attached to it, for example A Minor is 8A and C Major is 8 B. (“A” means Minor key whilst “B” means Major key ). Obviously 2 different tracks in A Minor (8A) will fit with each other, but there’re  2 other guidelines: 1) tracks with the same letter can mix with their neighbours, e.g, 8A goes well with 7A (D Minor) and 9A (E Minor); and 2) tracks with the same number but different letter can mix well with each other too, e.g. 8A and 8B.

In fact I’ve heard of the Mixed In Key program for a long time but  I’ve also read on the internet that sometimes it doesn’t work well with WAV files properly due to some tagging problem (I always DJ with WAVs instead of MP3s). But the other day when I visited the new website of Beatport (I  don’t go there very often because I’m so lucky that I got sent high quality promos from agencies and labels constantly) I discovered that it shows you the keys of the tracks EVEN BEFORE YOU BUY THEM. So I googled the image of the Camelot wheel, renamed some of my tracks accordingly, tested them out in Ableton, and I’m really pleased with the result.

In my dance music database each genre has 3 folders: opening, tension, and peak-time. What I do is I go to the specific folder to which the idea in my mind belongs – e.g. “tension techno” if I want to build more tension with a techno track – and then type the key code into the search engine according to the track that’s being played (I have to decide whether I want to stay in the same key, or go up/down a number or switch between Major and Minor). Then I’ll have a list of theoretically appropriate tracks to choose from immediately. It’s very handy especially when you’ve got a bunch of new and unfamiliar tracks all of sudden and it saves a lot of time in track selection for those who prefer long and subtle mixing between 2 tracks and/or those who like improvising with loops and FX throughout their sets.

Nevertheless, whereas the key codes are very powerful, in my opinion it’s not advisable for DJs to rely on them completely. First, when you alter the tempo of a track, its key will change too, so the key codes won’t work properly when you change the BPM coarsely.  Second, despite their importance, keys are merely one element of music, and just because two tracks are in the same key doesn’t necessarily mean that they’ll fit perfectly – there’re still a lot of things, such as rhythmic patterns, timbres, moods, etc, to consider. Last but not least, instincts are paramount in music – it’s perceived both consciously and unconsciously by our mind and body, and the process goes beyond any theory or reflection. Therefore, if a tune springs to mind, just go for it first; if unfortunately it doesn’t really fit, you still have a great tool covering your back, which I believe is what all this organisation of tracks is essentially for.

*Note: although this blog post is about digital DJing, I’ve been redeveloping my interest in DJing with vinyl lately; I’m going to write about the relationship between DJing, vinyl collection, consumption, creation and art next time. Stay tuned.

EP Review: “Lapis” by Iori Asano

Released on the acclaimed Prologue imprint, the Lapis EP marks the third output – and the very first in the physical format – of Japanese producer Iori Asano for the Munich-based techno label. As suggested by the fitting cover artwork this 3-track single is a spacey and dynamic piece that lends Asano’s own sci-fi twist to the dark and atmospheric aesthetics that the label is well-known for.

When compared with the Light Echo EP, his previous Prologue release from last year, the single here has a more hard-edged and heads-down feel whilst keeping the deep and hypnotic flavours of the former at the same time. Lapis One kicks things off with its fierce galloping kick and insistent cymbals, which are soon joined by some loopy, mysterious chimes and a cascading synth line that throbs all the way through to the climax.

If Lapis One portrays a rocket launch at a space station, then Lapis Two will be a depiction of exploration in outer space. In contrast to the former’s Traversable-Wormhole-esque militant vibe, it’s a slow-burning cut driven by the murky and bubbling synths, subtly gaining momentum to shape a disorienting and trippy soundscape.

Finally Lapis Three sets the engines to full throttle as the torrential synth riffs and percussions propel this peak-time affair at maximum velocity amidst the ethereal and swirling noises. Whereas the darkness conjured up is as vivid as on the previous two tracks, there’s indeed an obscure epic quality attached to it; and with the sheer amount of sonic energy delivered here, not only is this EP another quality release from Prologue, but it’ll also fit into the high-powered end of the label catalogue certainly.

Read the review at Data Transmission here

EP Review: “Increase Domination (inc. Audio Injection remix)” by Yan Stricker

The !Organism label was launched in 2008 by veteran DJ/producer Yan Stricker, who started his music career in his native Switzerland in the late 90’s. Since its inception the label has been developing in a techno-influenced direction, cultivating a style that is manifested in the Increase Domination EP, the label head’s latest 3 tracker featuring a solid remix from US techno artist Audio Injection aka David Flores.

Kicking off the EP is Fight the Nothing, a pacey big-room cut driven by the bold tech beats and dry electro-tinged synth leads, which are juxtaposed with the warm, airy pads in the main break. Whilst it’s rather straightforward despite its energy, it’s complemented with the title track Increase Domination, a more attention-grabbing piece that again sees the coupling of snappy tech rhythm and an acidic electro hook, but in a more epic manner thanks to the unrelenting movement of the triumphant synth riffs.

With the rework of Fight The Nothing by Audio Injection, the EP then twists its way towards the more German-sounding techno territory. Dark, throbbing, and with a palpable Berghain-influenced industrial flavour, the remix has a heads-down and organic feel that contrasts with the rest of the single and thus manages to inject some depth into it. A nice variation and addition to the EP indeed.

EP Review: “Post-Traumatic Son (Ben Klock Remixes)” by O/V/R

Following on from a few quality techno singles in 2010, UK veteran James Ruskin’s Blueprint label has kick-started this year’s release schedule with a remix EP from Berghain resident Ben Klock, who supplies 3 solid updates to Post Traumatic Son, the lead track of Blueprint 30 by Sandwell District artist Regis and the label boss himself from last year.

Indeed, those who’ve followed the productions of Ruskin over the past year should know about his penchant for the sound of Berghain and its affiliated imprint Ostgut Ton; and now with its mainstay responsible for the first release of Blueprint in 2011, it seems likely that the London label will continue its exploration in that dark and organic territory. What we’re interested in, of course, is whether it can keep delivering fresh-sounding releases this year.

In comparison to the original mix of Post Traumatic Son, this EP here does manage to diverge in an engaging fashion whilst sustaining some of the distinct qualities of the former. Amongst the three remixes, the Techno Mix is the one that captures its heads-down industrial progression to the fullest, with the heart-throbbing bass, incessant metallic percussions and thunderous stabs rendering a pounding and relentless vibe for the peak-time.

Whereas this rework should satisfy many techno fiends’ need for sonic vibration and energy, it’s really the Vibe Mix and Wave Mix that bring the EP to another level. Toning down the mechanical and banging progression of the Techno Mix, these two melodic affairs see the shimmering tones beneath the driving percussive components couple with the lush, immersive synth lines that fluidly glide atop, and thus subtly expand the industrial soundscape of the original mix and Techno Mix. The Vibe Mix possesses a strong dark and hypnotic flavour, whilst the Wave Mix is marked by a mixture of trippiness and grandeur.

A well designed and executed remix EP here, it has deftly opened up the possibilities of the original; yet it’s by no means the end of the remix treatment, as on part two of this remix series, Robert Hood and DVS1 from the US push the project even further, transforming the original to a greater extent with their own creative visions on another three interpretations. All this is a great start to 2011 indeed, and if the label continues to evolve in this direction, it’s going to have a promising year ahead for sure.

Read the review at Data Transmission here

2010 Roundup

To be honest I’ve thought about NOT writing an end-year roundup post. What’s the point of it? Just take a look at those major online dance music magazines and you’ll see their charts are all different. Those “our top tracks/albums/compilations/remixes/labels/DJs/live acts” actually merely reflect the taste of a particular group of people who run a music website together. In fact, most of my favourites of the year are either not included in those charts or not in the same range of ranking, which I think is a good sign for myself – if your selection is all the same as others, what’s ur own value/identity as a DJ or even music lover?

But on second thought, if music isn’t about sameness, then the difference – or diversity – between those charts indeed can be inspirations for expanding one’s musical horizon. As a writer of DataTransmission I’m actually rather happy with the fact that my taste is a bit different from other contributors and that I can inject some variety to the website every now and then. Now with 2010 coming to an end, I think it’ll be nice to select some of my favourites of the year and gather the youtube clips here. They aren’t “top” or “best” but just my favourites, that’s it. And they aren’t arranged in any particular order or ranking system as I don’t find it necessary – you can listen to them however you want!

Albums:

Baustelle by Greie Gut Fraktion

“Baustelle” literally means “construction site” in German, and this is a techno-tinged experimental LP crafted with field recordings from construction sites. I found the arty vibe throughout the album quite inspiring. Read my review on it here

Chamber Music by Raudive

Another experimental album, but leaning more towards house and techno. Oliver Ho has done a great job melting musical boundaries here. My review

Into The Great Wide Yonder by Trentemoller

I’m just so glad that the Danish genius has finally got rid of his dated electro shadow. His latest work is solid and versatile, and just check out the video, the live performance is absolutely stunning.

Triangulation by Scuba

When it comes to bass music x techno , the UK artist is definitely one of the masters. Some people call his music “future garage”, well I just know it’s great music.

Traversable Wormhole Vol 1-5 by Traversable Wormhole

This digital album version includes 10 inspiring original tracks by the Berlin-based artist, as well as two mixes by himself  and CLR label head Chris Liebing respectively. One of the most ambitious and inspiring projects in the techno scene this year indeed. For details read my review here.

Compilations:

fabric 50 by Martyn:

A fitting celebration of the half century of the London superclub’s label from the Dutch star, on the mix we can see bass music and techno and everything in between mixed and programmed impeccably. Read my review here

Funf by Various artists:

Crafted with field recordings from the infamous Berghain in Berlin, this fifth anniversary compilation of the club’s label Ostgut Ton shows why it’s one of the most influential forces in the techno scene these days. Read my review here

DJ-Kicks by Apparat:

Featuring tracks from Martyn to Burial to Thom Yorke, this mix from the Berliner is very atmospheric and resonating, and you can imagine how eclectic it  is.

DJ-Kicks by James Holden:

Lush, edgy and melodious, this is a very James Holden piece. And with the tracks mixed in key, the flow of the whole mix is superbly fluid and effortless.

Berghain 04 by Ben Klock:

With the immaculate mingling of house, techno and dubstep, the fourth installment of the Berghain series sees the club’s ambassador deliver an intelligent and eclectic sonic journey that traverses the past and present.

Tracks:

Edgy, sexy and playful, this is definitely one of the hidden gems of the year.

A lot of people have suggested that it’s been a great year for UK Bass music and that we’ve entered the post-dubstep era, with different forms of the Bass sound thriving and developing into some fresh and exciting branches. Taken from the 20th anniversary compilation of the London-based Ninja Tune imprint, this track by Two Fingers really impresses me with its floor-shaking, heart-pounding sci-fi bass wobbles.

This year has also seen French star Agoria’s Infine imprint continuously test and expand the boundaries of house and techno with the classical-tinged releases from Arandel, Francesco Tristano and the label boss himself. Yet amongst all the special talents at the label, Kid A, a young singer-songwriter from the US, really stood out and caught my ear. Just check out her Bjork-esque delivery here on this stunning track by Spitzer.

Almost two decades after its inception, the term Trip Hop may be dead now, but Massive Attack certainly aren’t. The melancholic yet edgy feel is still here; and thankfully, it just sounds so precise, upfront and contemporary.

Besides producing and performing live with Modeselektor as Moderat, as a solo producer Apparat of course also hardly disappoints – the ominous, industrial and grinding dub-tech vibe here is simply amazing.

One of the hot-rising producers of 2010, Singapore’s Xhin has successfully risen to the global stage of techno and is now a core member of Stroboscopic Artefacts, one of the most forward-thinking techno imprints of the year. Deep, stark and cutting edge, this track entitled “Blade Moth” is the opener of my Summer Mix broadcast on di.fm.

Also under Lucy’s Stroboscopic Artefacts imprint, Argentina’s Jonas Kopp is another up-and-coming producer that has attracted a great of attention in the techno scene over the past 12 months. A basic 4/4 techno rhythm here, but just listen to how the track subtly – and yet powerfully – evolves and complexifies into a heart-throbbing peak-time destroyer. Sublime indeed.

Originally released as an anonymous project in 2009, the aforementioned Traversable Wormhole series was digitalised and remixed on Chris Liebing’s CLR imprint this year, and it really encapsulates some of the most upfront and inspiring dark techno tracks you can find.

As mentioned above this year the sound of Berghain and its label Ostgut Ton has been immensely influential to the development of techno. This relentlessly floor-shaking remix by the club’s resident Marcel Dettmann is part of the first installment of the Traversable Wormhole re-release series on CLR, and is one of the best remixes of the year too.

A wholly mesmerising and mindfucking techno trip from the Sandwell District artist. Enough said. Happy New Year!

Album Review: “Traversable Wormhole Vol 1-5”

It’s definitely a gamble for an established label to allocate most of its resources to a project that’s led by one single artist for half a year. In order to succeed, the productions have to be creative and compelling enough to attract listeners installment after installment continuously. So what has made Chris Liebing, owner of the CLR imprint, have such faith in Berlin-based producer Adam X?

Those into techno should know that the 10 original mixes featured on this album were originally released exclusively in vinyl in 2009 by the 20-year veteran under the name of Traversable Wormhole as an anonymous project, which caused quite a stir in the techno scene at that time. Whereas the previous anonymity does make the digital re-release now on CLR more intriguing, at the end of the day what really matters is the music itself.

Indeed this year we’ve heard so many good dark techno tracks, but the sound of TW is distinctly outstanding: stripped yet powerful, spacey yet organic, and retro yet cutting edge, there’s so much depth in Mr X’s music. And with the 68-minute mix (composed of the aforementioned originals) included on this digital album version, the scope of his productions also becomes clear; whether you like the suspenseful pulsating bass of the opener Tachyon, or the hauntingly resonant melodies of Where 2D Meets 3D andClosed Time Like Curve, or the dubsteppy, hammering beats of Exiting The Milkywayand Spacetime Symmetries, it’s obvious that the tracks in the TW series are able to fit into different places of a deep tech set in some other-worldly style.

Besides the refined production skills of TW, another essential component of this series from CLR is undoubtedly the remixes. Of course, when you were able to get the remix treatment done by such a list of prominent and promising producers in the scene such as Marcel Dettmann, Function, James Ruskin, Surgeon, Kevin Gorman, Sleeparchive, Tommy For Seven, and Liebing himself etc, you could hardly go wrong. Thanks to their quality contribution a great deal of exciting variety is injected into the series, and it’s vividly illustrated on the 72-minute mix by the label boss.

Continue to read my review on Traversable Wormhole Vol 01-05 on Data Transmission – The Online & Mobile Dance Music Authority here

Album Review: “RedHead” by The Machine

As part of a collaborative art project, Redhead sees Rekids label boss Matt Edwards aka Radio Slave venture into an eerie and exotic soundscape under his relatively new moniker of The Machine. According to the renowned UK artist himself, the whole project (including the visual components) is driven by the idea of recycling and creating collages, which is something that he’s been doing since art school.

Indeed with the animated bird chirps, rhythmic pulsating of tides and creaking noises on the opener Continental Drift, the concept of collage is already palpable. But what really propels this 13-minute ambient track forward is the shimmering and atmospheric synth layers reminiscent of I Don’t Need A Cure For This; thanks to their cinematic and psychedelic quality, the LP is kicked off in a deep and subtle fashion.

The second track Opening Ceremony (Fuse) then sees Edwards emerge as a mysterious shaman and bring the tribal theme to the fore, with the spiritual choir, haunting lead vocals, and tribal house percussions rendering a heavy dose of exotic flavour that is sustained through out almost the rest of the album.

Continue to read my review on RedHead on Data Transmission – The Online & Mobile Dance Music Authority here

Album Review: “Fünf”

In celebration of their fifth anniversary, Berlin’s acclaimed label Ostgut Ton have released a special compilation which comprises 24 unmixed exclusive tracks inspired by 4 gigabytes of field recordings collected inside the infamous Berghain. Fittingly entitled Fünf (“five” in German), the album sees the label’s artists and the club’s associates including Ben Klock, Marcel Dettmann, Norman Nodge, Cassy, SCB aka Scuba and others (23 artists in total) explore the relationship between the club and the label in a deep and vibrational manner.

Whilst composing technoid tracks with field recordings can hardly be considered as a really groundbreaking concept these days – for instance, Baustelle, the impressive techno-tinged experimental album released by German duo Greie Gut Fraktion a few months ago, was created with field recordings from construction sites (read the review here) – Fünf manages to stand out thanks to the craftsmanship and the wide range of styles delivered by the producers.

Before Berghain’s renowned intense techno rhythm makes its appearance, CD1 is kick-started with the suspenseful chimes and metallic clicks and clacks of the downtempo affair Cooling Room by Emika, who came up with the idea of conducting fielding recordings inside the club. It’s in fact after Marcel Fengler’s broken-beat-laden trackShiraz that Prosumer’s plodding 4/4 kick and Substance’s relentless techno progression gradually raise the energy level of the disc. Yet those who crave for the fierceness of industrial techno will probably not be disappointed, as later on tracks like Fiedel’s Doors To Manual and Shed’s Boom Room are able to supply a great deal of tech vehemence through their heart-throbbing beats.

Indeed the success of both Berghain and Ostgut Ton in recent years can be attributed to not only the energy, but also the depth their artists have delivered. Label head Nick Höppner’s ISP sees how sleek housey percussions, menacing drones and delicate melodies can all roll into one beautifully, whilst the dark ambience of Marcel Dettmann’s beatless Shelter and the triumphant and wobbling synths of Len Faki’s Kraft Und Lichtshowcase their capability to trigger resonance in a deep and affective way.

Continue to read my review on Fünf on Data Transmission – The Online & Mobile Dance Music Authority here

EP Review: “Magma” by André Winter

Following his previous releases on the label, German DJ/producer André Winter has returned to Oliver Huntemann’s Ideal Audio imprint with Magma, yet another quality dark techno single.

As expected, this 2-tracker from the Hamburg-based artist is filled with an ominous tech vibe rendered from edgy and clinical arrangements. Title track Magma is a deep affair driven by loopy bubbling synth tones and crisp rolling minimal tech beats atop a relentlessly rumbling bassline. Hollow and hypnotic, it’s a good tension-builder indeed.

Continue to read my review on Magma on Data Transmission – The Online & Mobile Dance Music Authority here

Album Review: “Minor Obsessions” by Corrugated Tunnel

No doubt, Minor Obsessions, the third album by Irish producer Corrugated Tunnel aka Edwin James, is an ambitious attempt to oscillate in the pop and underground continuum. Besides the deep and solid house and tech grooves that form the foundation, the vocals from various guest vocalists also play a major role at times, generating intriguing contrasts and surprises.

Whilst the 12-track journey begins in a proper dancefloor-oriented fashion with the lush synth lines and pumping beats of Festival as well as the fluid and trancey melodies ofFade Away, vocals soon start to make an impact, as on Cabin Fever, the melancholic voice of Deborah Kay is coupled with the deep and Detroit-influenced techno rhythm. Threadbare then sees the mellow vocals by Martin McCann intertwine with the moody strings and piano riffs, as well as the forceful beats which render a surge in energy level after mid-section.

Continue to read my review on Minor Obsessions on Data Transmission – The Online & Mobile Dance Music Authority here