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Артист: Sander Van Doorn Mark Knight Underworld Название: Ten Жанр: Techno Год выхода: 2013 Label: Beatport Promotion / TOOL20003Z О музыке:
Sander van Doorn / Mark Knight / Underworld
Sander van Doorn
Thought to be a technical and musical genius by many, Sander van Doorn is without a doubt one of the worlds
most essential, influential and popular DJ/Producers in dance music today. In very short order, Sander has become a brand synonymous with excellence
– both production wise, and in front of the thousands he plays to nightly. He is truly one of the strongholds in dance music, a generation defining
artist that reshapes our perception of what dance music can be, and he does it all with that electrifying Sander van Doorn smile.
With two full length albums, numerous hit-singles, remixes of the worlds biggest artists, sold out gigs in all major venues and festivals, his own
successful record label and a weekly radio show it’s almost
impossible not to have come across the name Sander van Doorn at least once in your life.
Every successful artist’s story reads as a fairytale and Sander’s begins back in 2004 with the release of ‘Loaded’. The production skills he
showed in his first releases literary ignited an earthquake in the
international EDM community and catapulted him in the top-10 of biggest DJ’s world wide. Hailed and hyped by all the big names, his typical ‘SvD
style’ productions topped the club charts worldwide and resulted in his first full length album ‘Supernaturalistic’ (2008)
More big names started knocking on his door and via collaborations with Robbie Williams (Close my Eyes), his renowned remix of SIA’s ‘Girl on
Cocaine’ and international radio hits like ‘Love is Darkness’ and ‘Koko’ his hard work eventually led to his second album ‘Eleve11’
(2011) which provided even more stardom and perfection of his infamous live performances.
While most artists take a short break after releasing an album, Sander kept spitting out A-class releases like 'Chasin’, 'Nothing
Inside', 'What did I Do' with Block Party singer Kele, a Remix for Lady Gaga's 'Marry the Night' and ‘Kangaroo’ with
youngster Julian Jordan. All this and more will come together in Sander's brand new live concept which will be premiered at this years Amsterdam
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Mark Knight’s legacy already ranks him as a leading player in dance music culture. His rise to the forefront
has been more than just gigs and remixes; his contribution to the scene via his label Toolroom Records, demonstrates abilities that supercede the
glorified title of ‘DJ’.
This year, with a Grammy Nomination for work on the Black Eyed Peas’ multi-platinum album ‘The-End’, 3 of the biggest selling records on
Beatport’s ‘Best Sellers List’; ‘Music Matters’ ‘Flauta Magica’ ‘Good Times’, an IDMA nomination for his Toolroom Knights weekly
radio show and a prestigious Beatport award for his single ‘Good Times’ – 2010 has most definitely been a year of colossal achievement.
So where did it all start…
In 2004, with a personal vision for house music, Mark d his own workshop for 21st century dance musicians, Toolroom Records, and with it a new way of
Since its launch, the Toolroom imprint has developed into an uncontrollable beast, celebrating success as the biggest selling label on Beatport and
reaching the milestone of 100 releases in 2009 courtesy of Faithless.
As a producer, Mark has built a reputation for outstanding releases; ‘Man With The Red Face’, ‘Downpipe’, ‘Good Times’, ‘Devil
Walking’, consistently topping international dance charts, and has been involved in producing tracks for leading artists, including new output from
Faithless and contribution to the latest Underworld album.
And there’s more…
As a DJ, Mark holds international prominence, recognised the world over for his extended 7 hour sets, headlining festivals and clubs from Ultra Music
Festival Miami to the Terrace at Space Ibiza.
In 2006, Mark’s belief and desire to inject freshness into a stale club scene, inspired him to programme his own parties, this concept became a
reality with the launch of Toolroom Knights at Ministry of Sound, London in October ’06.
Having gained unrivalled success as one of THE superior club nights, Toolroom Knights has gone on to generate great global success and support with
Mark headlining Toolroom residencies at Cocoon Frankfurt, Space Miami, Ministry of Sound London, Pacha New York as well as hosting Toolroom arenas at
key festivals including; SW4 London, Global Gathering UK, Dance Valley Netherlands.
All in all, it’s been a BIG journey for Mark Knight, pioneering a sound and attitude that’s gained respect from fans and industry people alike
hungry for the integrity of Mark’s production skills and quality of Toolroom Knights’ parties. And there’s so much more to come.
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In these days of endless band reformations, avalanches of reissues and shamelessly repetitious ‘creativity’, too many artists
are willing to sign away their soul for a little extra time on the career clock. Too many of them see artistic expression not as an end in itself, but
as a shortcut to celebrity and are obsessed with their destination, rather than engaged by the journey. Too few of them, frankly, are like
Underworld. An incredible 27 years after their birth in Romford, Essex as a trio and 15 years after they pressed up their debut
single (500 copies of the Balearic twofer, ‘Mother Earth’/‘The Hump’), Rick Smith and Karl Hyde are still enjoying the ride, grinning like
kids as new vistas unfold before them. It’s been a long and exhilarating trip – and it’s not over yet.
At its peak, the landscape of UK dance music was changing quicker than you could say ‘white label’, but a few features were reassuringly ever
present – one of them was Underworld. What distinguished them was their ability to instil a deep soulfulness and empathetic humanity into even the
most anthemic club banger. To that end, they fused together elements of techno, dub, trance, Krautrock, drum ’n’ bass, ambient house and even
blues, complementing and contrasting not only sounds, but emotions, too, tying them together with Hyde’s frequently prescient, often opaque but
always strikingly poetic lyrics. The colossal ‘Born Slippy’ thus packed a heart-rending existential ache along with that thrilling, jackhammer
pulse and – immortalised as it was in Danny Boyle’s Zeitgeist-busting movie ‘Trainspotting’ – became a soundtrack for a generation. Small
wonder it’s long since passed out of Underworld’s possession and entered the canon of British folk music.
In 2002 ¬– following the departure of DJ Darren Emerson and the release of their live LP/DVD, ‘Everything, Everything’ –Underworld delivered
their first LP as a duo, ‘A Hundred Days Off’, which spawned the Ibizan track of that summer, the flickering and luminously lovely ‘Two Months
Off’. A year later, DMC Records engaged Smith and Hyde to curate one of their ‘Back To Mine’ compilations and the pair treated their loving
public to a selected anthology (‘Underworld 1992-2002’). Then, it all went quiet in the Underworld camp. At least, that’s what it might have
seemed like to the inattentive listener.
In fact, the very opposite was true. If there’s a single explanation for Underworld’s longevity and fecund creativity, it’s their appetite for
change and, over the past four years, they’ve been busy breaking acres of fresh artistic ground, much of it in cyberspace. In November 2005, Smith
and Hyde launched their digital ‘Riverrun’ project, delivering on-line (as three separate works to date) brand new music direct to their fans,
thus short-circuiting the relentless write/record/tour/promote system and allowing them to respond much quicker to their creative moods. They also
started broadcasting a web-only radio show – inspired by their time spent sitting in for John Peel at the BBC in 2004, while he was away on the
holiday from which he tragically never returned – and have been looking at making content for television. Last year, Underworld produced a four-hour
show live from Frankfurt’s Cocoon club with Sven Vth, the first of what they hope will be many broadcasts.
“It’s deeply exciting,” enthuses Smith of the pair’s on-line radio enterprise. “It’s the immediacy, the freedom, the focus – listen,
don’t just look at eye candy – and the way it opens up the imagination. John Peel’s imagination had resonated with us ever since we could both
remember, so it was a curious way for things to come about.” Adds Hyde, “His death was deeply traumatic and something we’ve not really got over
yet. There’s still a feeling that somehow we’ve gone into a parallel universe without him, but the people that were around John started turning us
onto independent labels and introducing us to new artists who we then started to correspond with, so now we have this regular flow of records across
all genres coming into us, which we can introduce to other people through the radio show. That’s what John passed on to us.”
Underworld’s activity has been by no means just virtual, however. In 2006, they worked with fted film score composer, producer and orchestral
arranger Gabriel Yared on the soundtrack to the Anthony Minghella movie, ‘Breaking And Entering’, and this year co-scored (with John Murphy) old
mate Danny Boyle’s latest, ‘Sunshine’. It’s this work that feeds into the pair’s brand new work, their long-awaited, fifth studio album,
‘Oblivion With Bells’. A soulful and contemplative, yet typically uplifting record, it’s built on a more intimate scale than previous Underworld
efforts and features sculptural orchestration, some ambient soundscaping and – encouraged by their work with Yared – increased live instrumental
input (including marimba playing of Larry Mullen Jr of U2 on ‘Boy, Boy, Boy’). Built from a vast palette of pieces they’ve been amassing since
2003, it reflects the stylistic promiscuity that always marked Underworld out from the pack, recalling Kraftwerk, Erik Satie, Can, Angelo Badalamenti,
Laurie Anderson, Ralph Vaughan Williams, The Last Poets, Eno, Phillip Glass and musique concrte composers such as Pierre Boulez. It’s definitely
Underworld, but it’s Underworld with a twist.
Thus, the forthcoming single and album opener ‘Crocodile’ is Underworld, simply as good as they get. ‘Ring Road’ sees Hyde off on one of his
famous psycho-geographic jaunts (this one around Romford, on St George’s Day), marking time with his compelling word rhythms, while the treated
found sounds in ‘Cuddle Bunny Vs Celtic Villages’ conjure a decidedly non-cuddly, almost menacing atmosphere. The lusciously lowering ‘Beautiful
Burnout’ features Underworld’s trademark synth swathes and swells with a somehow doomed beauty, but the minimal ‘Holding The Moth’ boasts such
a bass-y spring it practically bounces clean off the plastic. ‘Glam Bucket’, meanwhile, shimmers like a sheet of liquid crystal and ‘Best Mamgu
Ever’ offers a sliver of downbeat, Balearic bliss at the album’s close.
“This renewed vigour we’ve felt in the past four or five years has surfaced in material that hasn’t really appeared over the commercial
parapet,” Smith explains, “but what we’re most interested in doing – beyond just ‘Oblivion With Bells’ – is simply marking our ongoing
journey. Big conclusions aren’t what we’re aiming for; we’re interested in expressing how we feel at one particular time and that in no way
necessarily says that’s where we’re going. It just says that’s where we’re at, at the moment. I do think large aspects of the new album sound
like two guys who’ve had great experiences with film music, who have a passion for film and travelling and for ambient, more gentle and perhaps what
was less generally understood as ‘an Underworld sound’ – which was uplifting, anthemic, banging and very obviously dance oriented.”
Adds Hyde: “One of the questions we often get asked is, ‘What’s your inspiration?’ and largely, it’s boredom! What we decide to do about
that becomes the next part of the journey. Process and journey is probably the major part of what we do. We did a lot of travelling in the early days;
we’d borrow a car to come up to London to record and so we’d listen to the radio at night, on the road. When we were on the dole, we’d rent a
couple of films and sit in, eating brown rice and tuna, watching movies until the early hours. That filmic aspect and travel is inherent in all our
Smith sees ‘Oblivion With Bells’ as being “like a diary, which sounds like a dead thing, but both lyrically and musically, we just tried to
express what was going on at the time. This album was being worked on and shuffled right up until the last possible minute and yes, that was an aim of
ours. The over-riding factor beneath all our ideas is the desire to express something honest.”
On that score, mission comprehensively accomplished. Despite its slyly humorous title (lifted from the track ‘Faxed Invitation’), ‘Oblivion With
Bells’ is conclusive proof that Underworld were never in any danger of being forgotten. That sound you hear is Karl Hyde and Rick Smith ringing in
the new. Again.
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01. Sander Van Doorn Mark Knight Underworld - Ten (Original Dub Mix) 6:08