Obstruct – Room 209 [RHEO]

Room 209 takes you though a series of events that cannot be explained. Obstruct lays the foundation for this paranormal experience with an atmosphere that is both mysterious and frightening. Hard hitting madness races through the halls as the synth echoes the voices of the dead. Aite Horvats haunted vision rumbles deep and dark perplexing listeners with no resolution, leaving them breathless through uncompromised baselines and reworked synth. When unfamiliar screams pierce through the darkness, Decibel Flekx unfolds with powerful and hair raising tension that will cause nightmares. Each track reveals a unique perspective, all while trying to answer the same questionwhats in Room 209

Support from: Andre Ramos, Blank Code, Chad Osborn, Complicit, Craft, Dean Paul, Garrett Dillon, Justin Kase, Justin Schumacher, Margin Walker, Owen Sands, Scott Kilpatrick, Sone, Tony Kasper, Uun and more…

Catalog#: RHE004
Label: Rheostatus
Artist: Obstruct
Title: Room 209
Release date: April 15, 2014
Format: MP3 & WAV
Genre: Techno

1. Obstruct – Room 209 (Original Mix)
2. Obstruct – Room 209 (Decibel Flekx Remix)
3. Obstruct – Room 209 (Atie Horvat Remix)

Andrew Boie releases Callipygous Mix

Extra-sultry all-vinyl deep house set performed by KCTDC resident Andrew Boie at a certain legendary house party in southeast Portland, right around midnight…


More Interest >> John Templeton

 John Templeton Fowlkes

DJ Alias:
 John Templeton (pretty easy, eh?)

 Denver, Colorado, but originally from Abingdon, Virginia

How long have you been DJing / producing dance music?

I have been DJing for fourteen years now, as I started my freshman year in college.

What was the first record you purchased?

To be honest, I don’t really remember because it was so long ago. I was initially drawn to progessive house and trance via Global Underground, Renaissance, and Bedrock, but I bought a lot of average records that had no shelf-life. I was happy to get rid of those records five or six years ago; and I got rid of them all. To me, there is no sentimental value in holding on to bad vinyl.
However, my first two CDs that I bought – when I was in 5th grade – were Red Hot Chili Peppers “Mother’s Milk” and Megadeth “Rust In Peace”

What type of platform do you prefer to perform on?

I prefer two turntables and two CD players. I have no problem with digital DJing, but I, personally, can’t stand to be tethered to a computer. I grew up playing instruments in metal and punk-rock bands when I was in middle school and high school, and I simply enjoy the more hands-on approach of vinyl and CDs.

Emote recently surpassed it’s 50th release. Tell us a little bit about the label.

Emote Music was started by Jacob Todd back in 2006. I joined in 2009 because Jacob and I had been working together on production, and while I was ready to get into label work, I didn’t feel that starting my own label was necessarily appropriate at that time. In my opinion, there were (and are) too many labels, and I felt like I could make a better contribution by teaming up and helping Jacob with operations and A&R. Initially, the label started out as a progressive house and breaks label, but when I joined up, we quickly switched gears to a more techno/minimal/Colorado-focused approach.

You have a few release of your own. What steps have you taken so far to establish yourself as a producer? Are there any new releases in the works?

Yes, I have a few releases out: a few solo, but mostly with Jacob Todd under our Oban moniker, and with The Missing Link in one of our various projects. Like I said earlier, I grew up playing in bands and with other musicians, so for me, it’s very important to work with other people. There’s a collaborative process and idea-sharing that is hard to replicate in a solo environment. That being said, the home studio is more accessible and affordable than ever, but I actually think that is kind of a bad thing. It used to be very hard to get a record, an EP, a single, or an album to a mass audience, and obviously, that’s completely changed over the last 10-15 years. We live in the information age, but there’s too much information to decipher and the same thing applies to music and the volume of releases. Therefore, I have really tried to pull the reigns in on my productions and limit the number of tracks and material that I am putting out there.

You are the Founder and Artistic Director of the Great America Techno Festival (GATF). What was your ambition in starting the event?

GATF started as a pretty simple idea: to try and take advantage of the Great American Beer Festival, which is an annual beer-festival in downtown Denver – usually in September. The beer festival is all about celebrating American-brewed, craft beers, and we thought that we should try and celebrate American techno, like they were celebrating American beer. We have since moved our dates away from the Beer Festival, as their dates usually fluctuate and we wanted to stay close to the second weekend in September. We just really wanted to have something that said it was ok to like techno, since it was founded in Detroit, but the popularity has since swung to overseas. We wanted to have something that put the focus on people from the United States who were creating good techno that we liked.

GATF is gearing up for it’s 3rd year. Are there any plans or artists you can share with us?

We are actually going into our 4th year this year, as our first was in 2011. Right now, we are in the process of booking artists, so I am not at liberty to divulge who we will have, but in the past we’ve had Jeff Mills, Kevin Saunderson, Camea, Rrose, John Tejada, Truncate, Mike Parker, Drumcell, Tony Rohr, Lusine, Fred P, Bruno Pronsato, Tim Xavier, and a lot more along that line. You can probably expect something similar in 2014.

You recently played in Moscow and have an upcoming trip to Berlin. What has the journey been like?

Well, Moscow was definitely the experience of a lifetime, that’s for sure. The venue, Arma 17, is absolutely the coolest venue that I have attended, nevertheless played. It’s a massive venue (1500 person capacity) with three separate rooms; two of which have Funktion One sound. I was fortunate enough to be on the main floor, and it was so much fun to really pump that sound system. The city of Moscow is also quite beautiful and surprisingly liberal. It’s a 24 hour city that is just teeming with life and activity at all hours of the day and night. The subway (Metro) system is also spectacular with marble columns, beautiful tiled floors, mosaic ceilings, and sculptures in the hallways. It’s quite the city to visit.
Berlin is coming up here soon. I’m heading over to play just a couple of gigs, but mainly to hang out with old friends and meet a lot of people from my network whom I have known for years, but have never met in person. For example, my friend Riccardo, who goes by The Noisemaker, released an EP on Emote several years ago, but Riccardo is from Treviso, Italy, and we have never had the chance to meet. So we made plans for me to fly to Treviso while staying in Berlin, and after years of talking regularly through Skype, Facebook, and email, we will finally get to meet. Ultimately, this trip is about expanding and solidifying my techno network.

Congrats on your Interface booking in Detroit this year!

Oh, thanks! I am really excited to be on the Interface lineup, especially considering that I’ve never seen Regis or Oscar Mulero in person before, so it’s simply an honor to be on the same lineup as those two. I do owe a big thanks to the Droid and Blank Code crews for giving me this opportunity too.

Have you played in Detroit before?

Yes, I played in Detroit last year for two of the Official Movement afterparties: one was the Perc Trax party at The Works, the Friday before Movement, and the other was the Klockworks party on Memorial Day, right after the festival was finished. I am definitely excited to go back this year, as it’s a great time to meet people from all over the North American techno industry.

Besides music, what else do you collect, if anything?

Vinyl is my main collection these days, so I spend a little too much on that. Other than vinyl, I’d just prefer to spend my money on experiences: a nice dinner with friends, a good backpacking trip to the mountains, or a sporting event of some kind. I plan on taking in a Bundesliga (German Football) match while in Berlin, as I’ve never seen a soccer match in Europe, and want to check that off the bucket list.

What do you order at the bar?

I am definitely a beer nerd, so I’ll probably see what the selections are. If we’re talking the beer realm, I really like sour beers, but you can’t drink those all night, so a good pilsner or pale ale will usually suit. I also like a good bourbon, but there’s a new whiskey called Tin Cup that I am really enjoying right now. So yeah, beer and bourbon or whiskey. You can probably tell I grew up in the South!


Swell w/ Amjanda

Saturday, April 12

Swell at The Riot Room with Jason Kidd and Amjanda

Swell returns to the Riot Room patio this weekend for the spring/summer season! They’ve installed all new sound and this will be a great kick off as two of KC’s longest standing House DJ’s get together again to prime the spot for the season.


The Riot Room
4048 Broadway


Anthony Collins- Union Block (Original Mix) [Natural History]
P Toile- Face (Frank Martiniq Remix) [Ostwind]
Simian Mobile Disco & Roman Flugel- Ikizukuri (Alt Mix) [Delicacies 2013]
Darlyn Vlys- Floor 122 (Sante, Sidney Charles Warehouse Dub) [Avotre]
Matthew Lima, Maiki- Sandless (Alessan Main Remix) [Zoo:Technique]
Tobsen Graale- A New Level (Christian Burkhardt Remix) [Tanzbar]
Plankton & MADA- Hellvenum (Luis Flores Remix) [Darknet]
Truncate- Break Down (Original Mix) [50 Weapons]
Kangding Ray- Amber Decay [RASTER-NOTON]
Ø [PHASE]- Perplexed (Rødhåd’s Extended Mix) [Token]

Anthony collins – Union block clip exibit F Natural Hisroty by AnthonyCollins


Page 1 of 11512345...102030...Last »