Fuse: The History Of Belgium's Premier Techno Club.

Documentary portraying the history of Belgium's premier techno club: Fuse. The Brussels based institution was founded in 1994 and is still going strong. With an excellent reputation within the international music and nightlife scene, the club has had an impressive list of international DJ’s playing at the venue and therefore still counts as one of the best clubs worldwide. The documentary portrays how it all started and managed to survive throughout the first difficult years to become one the best international clubs in the world as to date. The documentary features interviews with Dave Clarke, Laurent Garnier, Chris Liebing, Charlotte de Witte, and founding fathers Peter De Cuypere and Thierry Coppens. Original archive footage blended with new shots, all in a head-turning rollercoaster of swift cuts and tight edits. Brace yourselves! 


Extensive list compiled of black producers, artists and black-owned labels

A major list of black producers and black-owned label pages on Bandcamp has been compiled and circulated. Administered by a group of volunteers, at the time of writing the list already contains over 1300 links, and is growing by the hour.
“This sheet is a work in progress (non exhaustive),” it says, encouraging visitors to get in touch with new submissions. Edits, feedback and comments can be e-mailed to collectivedatavol.
The list comes in time for the latest round of Bandcamp's new fee-waiving initiative which is held on the first Friday of every month, midnight to midnight Pacific Time (8am-8am BST), which allows all revenues from sales to go directly to artists. Many artists, labels and commentators have suggested that music fans purchase music specifically from black musicians and labels today, in response to the ongoing violence against the Black Lives Matters protest movement in the US.
Earlier this week, the online music retail platform announced that on 19 June (and continuing on the same date annually) it will donate all of their share of sales to the NAACP Legal Defense Fund. “The recent killings of George Floyd, Tony McDade, Sean Reed, Breonna Taylor, Ahmaud Arbery and the ongoing state-sanctioned violence against black people in the US and around the world are horrific tragedies. We stand with those rightfully demanding justice, equality, and change,” they say.
You can browse, link and buy via the full list here.


Jellybean Benitez - Live from NYC (Glitterbox Virtual Festival)

1.    Indeep - Last Night a DJ Save My Life (Accapella) (Shep Pettibone Mix)
2.    Frankie Knuckles - Whistle Song (Eric Kupper Mix)
3.    Chaka Khan - Clouds (Ralphi Rosario Remix)
4.    GQ - Disco Nights
5.    Bohannon - Let’s Start The Dance
6.    D-Train - You’re The One For Me (Dub & Vocal Edit) (Francois K. Mix)
7.    The Vision Feat. Andreya Triana – Heaven
8.    The O’Jays Vs Angie Stone - Back Stabbers / Wish I Didn’t Miss You (Ken Work Re-Jump)
9.    Alison Limerick - Where Love Lives (David Morales Edit)
10. Joey Negro - Love Hangover (Joey Negro Mix)
11. Loleatta Holloway - Love Sensation (Dimitri from Paris DJ Friendly Remix)
12. Klein & MBO - Dirty Talk (Mario Boncaldo & Tony Carrasco Remix)
13. Celestial Choir & Joubert Singers - Stand On Your Word (Danny Krivit Edit)





Mory Kanté (29 March 1950 – 22 May 2020)

Mory Kanté (29 March 1950 – 22 May 2020) was a Guinean vocalist and player of the kora harp. He was best known internationally for his 1987 hit song "Yé ké yé ké", which reached number-one in Belgium, Finland, the Netherlands, and Spain. The album it came from, Akwaba Beach, was the best-selling African record of its time.[3]

In 1971 Kanté became a member of the Rail Band, in which Salif Keita was a singer.[2] Keïta left the band in 1973, leaving Kanté as the singer.[2]
In 1987, he released the song "Yé ké yé ké", which was one of Africa's best-ever selling hits as well as being a European number-one in 1988, making it the first ever African single to sell over one million copies.[6] The album it came from, Akwaba Beach, became the best-selling African record of its time. The album also featured an Islamic song, "Inch Allah", alongside the pop hit "Yé ké yé ké".[3] The album also featured the song "Tama", which inspired two Indian Bollywood songs, "Tamma Tamma" in Thanedaar (1990) and "Jumma Chumma" in Hum (1991), the latter film also featuring another song "Ek Doosre Se" which was inspired by "Inch Allah".[7]
Kanté received unexpected fame again in 1994 when the German techno duo Hardfloor created a dance remix of "Yéké Yéké."[8][9] He also appeared in 2006 as vocalist on British DJ Darren Tate's release, "Narama".[10]
On 16 October 2001, Kanté was nominated Goodwill Ambassador of the Food and Agriculture Organization of the United Nations (FAO). He participated in that year's World Food Day ceremony at the FAO's headquarters in Rome, alongside fellow singers Majida El RoumiGilberto Gil, and Albano Carrisi (who were also nominated as ambassadors).[11]
Kanté was among Africa's top musicians – including Tiken Jah FakolyAmadou & Mariam and the rapper Didier Awadi – that banded together for the recording of "Africa Stop Ebola", a song offering sound advice aimed at raising awareness in the wake of the Ebola crisis.[12] The song, released in November 2014, transcended public service announcements and sold 250,000 copies with all proceeds going to medical charity Medecins Sans Frontieres (MSF).[13]

Kanté died on 22 May 2020 at a hospital in Conakry at the age of 70. He was suffering from chronic illnesses in the last years of his life and often received treatment in France. However, this was no longer possible due to the coronavirus pandemic in that country.[4][5] He is buried at Conakry Kipe's cemetery.[citation needed]


R.I.P. Pascal FEOS

Frankfurt DJ and producer Pascal FEOS has died.
News broke on Saturday 9th May that the longstanding and influential DJ had sadly passed away, aged 52. While no official cause of death has been shared, FAZEmag reports that the Bad Nauheim-born artist had been battling stomach cancer. 
Pascal FEOS, real name Pascalis Dardoufas, started DJing Italo, Hi-NRG and EBM in the mid '80s, and went on to be a pioneering figure in what became known as the “Sound Of Frankfurt” in the ‘90s, a trance-imbued techno sound shared with the likes of Sven Väth and Chris Leibing. Over three decades the producer released music as Pascal FEOS and Sonic Infusion, as well as under the moniker Resistance D with Maik Maurice Diehl and under the trip-hop / ambient alias, Aural Float. 
“I am thankful that I spent so many wonderful years with you,” wrote Sven Väth in a tribute shared on Facebook. “We experienced the 1990s very intensively together. You have impressed Frankfurt and the rest of the world with your Techno-Trance productions.”
“Pascal was always present as a cornerstone in our techno scene,” Chris Leibing wrote. “He helped form what was later known as the 'Sound of Frankfurt'. Our scene would not be where it is today, without his pioneering work.”


R.I.P. Florian Schneider-Esleben

Florian Schneider-Esleben (7 April 1947 – 30 April 2020) was a German musician best known as one of the founding members of the electronic band Kraftwerk, performing his role with the band until his departure in November 2008.

Schneider was born Florian Schneider-Esleben on 7 April 1947[1] in the French occupation zone in southern Germany, near the Bodensee[a] in what would become the state of Baden-Württemberg in 1952. His parents were Paul Schneider-Esleben, an architect, and his wife Evamaria.[2] His family moved to Düsseldorf when he was three years old.[3][4]


Florian Schneider-Esleben founded Kraftwerk with Ralf Hütter in 1970.[5] They met in 1968 while studying at the Academy of Arts in Remscheid, then at the Robert Schumann Hochschule in Düsseldorf, playing improvisational music together in the ensemble Organisation.[5] Before meeting Hütter, Schneider had played with Eberhard Kranemann in the group Pissoff from 1967 to 1968.[6] From 1968 to 1969, Schneider played flute, with Hütter on Hammond organ, Kranemann on bass and Paul Lovens on drums.[7]
Originally, Schneider's main instrument was the flute, which he would treat using electronic effects,[8] including tape echo, ring modulation, pitch-to-voltage converters, fuzz and wah-wah, allowing him to use his flute as a bass instrument. He also played violin (similarly treated), electric guitar (including slide guitar), and made use of synthesizers (both as a melodic instrument and as a sound processor).[5] Later, he also created his own electronic flute instrument. After the release of Kraftwerk's 1974 album, Autobahn, his use of acoustic instruments diminished.[8]
David Bowie titled his "Heroes" instrumental track "V-2 Schneider" after Schneider,[9] and was heavily influenced by Kraftwerk's sound during his "Berlin period" in the late 1970s.[8]
Schneider, speaking in 1991, said: "I had studied seriously up to a certain level, then I found it boring; I looked for other things, I found that the flute was too limiting... Soon I bought a microphone, then loudspeakers, then an echo, then a synthesizer. Much later I threw the flute away; it was a sort of process."[3] Although he had limited keyboard technique, he apparently preferred to trigger the synth sounds through a keyboard (later, developments in sequencing limited the need for hands-on playing).[10]
Schneider's approach was concentrated on sound design (in an interview in 2005, Hütter called him a "sound fetishist")[11] and vocoding/speech-synthesis. One patented implementation of the latter was christened the Robovox, a distinctive feature of the Kraftwerk sound.[10] Hütter said of Schneider's approach:
He is a sound perfectionist, so, if the sound isn’t up to a certain standard, he doesn’t want to do it. With electronic music there’s no necessity ever to leave the studio. You could keep making records and sending them out. Why put so much energy into travel, spending time in airports, in waiting halls, in backstage areas, being like an animal, just for two hours of a concert? But now, with the Kling Klang studio on tour with us, we work in the afternoon, we do soundchecks, we compose, we put down new ideas and computer graphics. There’s always so much to do, and we do make progress.[11]
Schneider was also known for his comical, enigmatic interviews, although he only seldom gave permission to be interviewed.[citation needed]
In 2015, Schneider and Dan Lacksman, with the help of Uwe Schmidt, released an electronic ode, "Stop Plastic Pollution", for ocean environment conservation as part of the "Parley for the Oceans" campaign.[12]

Departure from Kraftwerk

Schneider did not perform on any of the dates of the Kraftwerk 2008 world tour, with his last performance with the band being in November 2006 in Spain. His position onstage was subsequently filled by Stefan Pfaffe, an associate working for the band as a video technician.[13] According to a close associate of the group, Schneider left Kraftwerk in November 2008.[14] On 6 January 2009, NME confirmed Schneider's departure.[15]


Schneider died from cancer on 30 April 2020[16][17] at the age of 73, having suffered from the illness for a short time.[5][18]