Ghostly staffer and drip.fm co-founder Miguel Senquiz drops a set of late night / early morning cuts for smoky, sweaty dance floors.
follow him @htmiguel
Artwork by Will Calcutt
1. Kyle Hall // Untitled // Wild Oats
2. Theo Parrish // I Can Take It // Sound Signature
3. Point G // Underwater // Apallonia
4. Jorge Zamacona // Effort #3 // Mosaic
5. Galcher Lustwerk // Tape 22 // White Material
6. Kyle Hall // Crushed // Wild Oats
7. Young Male // Depraved Thought in a Depraved Time // White Material
8. Lapien // Indifference // Soul People Music
9. Marcellis // A1 // Workshop 16
10. Prince of Denmark // Cut 02 // Forum
11. Mr. Tophat & Art Alphie // Marlboro Light (GW Remix) // Karlovack
12. Smallpeople // And You And You // Smallville
13. Hector // Haunted // Tsuba
14. Deetroit // Feeels // Uknown Deetroit
15. [Ø] Phase // The Bwiti Initiate // Token
16. Truncate // Bipolar // 50 Weapons
17. Florian Kupfer // Feelin’ (Dubb Micx) // L.I.E.S.
18. Juxta-Position // Mercy // Mistress
19. Galcher Lustwerk // Capabilities Survey // White Material
20. Magic Mountain High // Riptide // Off Minor
Splice is currently in a private beta as we work out some kinks and collaborate with artists to make sure we’re building the best platform possible. While we work on getting Splice ready for prime time, we wanted to share some information about how exactly Splice works.
The Splice client automatically backs up your Ableton Live projects to the cloud every time you hit “save.”
Splice includes a downloadable client application, which integrates with your existing tools (currently Ableton Live 8 and 9) and workflow to seamlessly and automatically sync your work with the cloud, accessible from splice.com. Once you’ve installed the Splice client, we automatically create a “Splice” folder where you can save your Ableton Live projects. Once you’ve saved a project into that folder, keeping your work fully backed up is as easy as hitting “save.” Your entire project, including any audio samples, is securely copied to Splice’s servers.
We’re proud to announce that Clone Records now has a drip! You can join one of the most significant labels in dance music, as releases old and new are carefully selected at least twice per month from within the company. This will also include Clone’s sublabels, which include Royal Oak, Jack…
SO THIS IS A MIX THAT AIRED IN THE MID 1980′S ON CHICAGO’S WBMX. THE SHOW WAS THE ‘SATURDAY NIGHT LIVE AIN’T NO JIVE DANCE PARTY.’ THE HOT MIX 5 WERE THE MAIN DJ’S BUT EVERY WEEK THEY PUT ON A GUEST DJ. ROBERT ROJO AND MYSELF WERE GUESTS OF RALPHI ROSARIO ON THIS NIGHT. THE FIRST HOUR OF THE MIX IS FROM ROBERT AND THE LAST HOUR IS MINE. IT’S SUCH A GREAT TREAT TO HAVE UNCOVERED THIS LONG LOST REEL-TO-REEL TAPE IN MY PARTNER MIGUEL GARCIA’S BASEMENT AND BE ABLE TO HEAR ALL THE DIFFERENT TYPES OF DANCE MUSIC WE WERE PLAYING ON THE RADIO BACK THEN. I MEAN, NO ONE ELSE WAS GIVING AIRTIME TO DANCE RECORDS, NOT TO MENTION IMPORT DANCE RECORDS FROM EUROPE. A LOT OF THE TRACKS YOU’LL HEAR WERE ‘ONLY’ PLAYED DURING THE MIX SHOWS OR IN THE NIGHTCLUBS OF THE TIME. ENJOY.”
UK producer Gold Panda just landed in New York for some downtime before embarking on a full US tour, stopping in to our Brooklyn office today to hang tough with drip’s co-founder, Miguel Senquiz. Mr. Panda will set out across America for eight weeks’ worth of gigs in support of Half Of…
Earlier this summer we grabbed a stack of our latest tees and a few cold craft beers, and invited Beacon’s Jacob Gossett and Esquire design director Esther Kim to spend a sunset hour modeling on the rooftop of our new Brooklyn office. The fiery evening sun, a few volcanic looking clouds, and the purpling sky over Manhattan made for a quintessential summer in the city moment.
With July 4th just around the corner and people in cities around the US making plans for visiting coveted rooftops with wide-skyed views, we thought now was a good time to share the photos along with our wishes for a happy Independence Day.
In the spirit of celebration, scroll to the bottom of our image set and you’ll find a discount code for $5 off every tee in our shop starting now through July 7th.
(Special thanks to Jakub Alexander (Heathered Pearls) for photography and processing; Carolyn Ward for bringing the steamer and lending a much needed helping hand; and, of course, Jacob and Esther for standing in front of our cameras.)
“A big part of who I am and where I am is carried by Hard Wax. Beside Berghain it was my school and is still my teacher.” - Marcel Dettmann
“Hard Wax is in a way, an institution for many people - for its role of ‘style-forming’ and ‘trend-setting’.” - Milton Bradley
“Hard Wax was not only my perfect student job but an important source for quality music. I consider Torsten and Sascha to be the earliest supporters of Ancient Methods and the most enjoyable colloquists about music.” - Ancient Methods
The legendary interview w/ Jay Dee on World Wide dating from Feb 2001, as he speaks on the making of the seminal Welcome 2 Detroit, his production work w/ Pharcyde, Common, Tip and other stories… a must listen. Happy Bday Dilla.
Awesome DJ mix from Derek Plaslaiko… a sort of tribute mix to Richie Hawtin
Hello, my name is Derek. The path that led me to working for Rich stems back to the mid-nineties from simply listening and dancing to his sets. Around 1997, we became closer from when I worked at Record Time and would sell him records. In 2002, I was brought on to be his travelling technical assistant and from then I worked on other projects for him in the years that followed. In 2010, I was brought to Berlin to work compiling content for richiehawtin.com.
For my Minus Connections podcast, I decided to do a one-take all vinyl mix using only records that I associate with Rich’s sets over the years. Some are obvious classics, while others maybe not so much. However, ALL of these selected tracks hold a very sweet spot in my heart, and provide countless memories of Richie playing them. I hope you enjoy listening as much as I enjoyed making it. Thanks!
One of the pieces that stuck with me this year was by the electronic musician Fort Romeau, about the idea of Slow Listening. It’s a love letter to vinyl, but can be read to include any form of uninterrupted listening (running, solo driving, sitting on a plane).
We are thrilled to announce our first collaboration with the renowned New York men’s boutique Odin. Now through January 6th, Ghostly fans living in New York (or visiting) can stop by our temporary space beside Odin’s original East Village store and shop from a specially co-curated…
This summer we shared some highlights from the Everyday Project, a series of daily experiments from San Diego-based director, designer, photographer, and Ghostly collaborator, Charles Bergquist. After discussing the work further with Charles, we became obsessed with the project and soon realized that it would make the ideal starting point for his participation in Ghostly International Editions, our expanding “label” of artwork and artists.
To coincide with our release of four limited edition works from the Everyday Project, we asked Charles some getting-to-know-you questions about his introduction to design and his current state of mind. Read below and follow the linked images to see the new works in further detail.
Detail from Voyager, part of the Everyday Project. July 26, 2012.
[GI] Let’s start with the obvious: Why are you a designer? [CB] Design, photography, and motion work sort of pushed their way to the surface when I entered college. I became obsessed with them, but on a secret level. I’d study for classes, bounce from major to major, but at night and on weekends, I’d be in front of the computer, messing around with a digital camera or reading books on design and photography. At that time, I didn’t realize that this is what I was going to do for a living, just that I enjoyed it immensely. A lot of my initial influence and curiosity came from contemporary designers, artists, and filmmakers. Finishing school was a big turning point in my life, it’s where I gave up the degrees that I earned and dedicated all my time to design and motion.
I’ve always enjoyed jumping from one thing to another, from design to photography to video work. To me it feels like they’re almost all the same thing. When I feel like I’m getting burned out on moving images, I switch to photography; when I feel like I want to do more to an image than just a photo, I start to get into design work; and then back and forth.
It’s been a relatively solo journey for me as far as what I do now—meaning, I didn’t go to school for it explicitly, and it came from my desire to do it. Looking back, there’s a part of me that wishes I would have gone to school for photography or design, it would have saved me a couple years of trial and error. Then again, I think that’s part of why I’m doing what I do now, I kept working at it. When I started, I had a handful of people telling me that I should specialize in one thing or I was working too hard on one little detail of something and those concepts just never made sense to me. A lot of what interests me is that an image can exist as moving, still or constructed. Also, I feel it’s the subtle details that make something finished.
I think I’m a designer because I love imagery and creating imagery, I couldn’t see myself doing anything else. Also, I’m constantly in awe of the work of other designers, and that’s a component that inspires me to create.
“There’s only two digital platforms that I ever thought were a good idea,” Stone’s Throw artists and web director Jeff Janks said in July (via LA Weekly and ComputorEdge). “First one was iTunes, second one was Drip. Most everything in between seems corporate-minded, aimed at major labels and mass audience.”—
Drip.FM came out today. I have been obsessively using it for months, for four labels now. I love it so much. Its one of the highlights of my day. Domino, Ghostly, Morr Music and Dead Oceans are particularly awesome.