Tag Archives: SPF666


Every so often, the bubbly come ons of SPF666’s “Here Little Kitty” remix or his own “Tsundere ツンデレ” will rise through the mix at the club, an always-welcome interjection and a reminder that the Portland-based artist has turned in some of the most indelible entries to the less conventional end of the club music spectrum. It’s been a few years since the release of his Scorpion Cache EP and while original music has been few and far between, the Club Chemtrail representative has stayed busy, contributing excellent writing and mix work to FACT’s Originators series and showing up with the occasional cheeky remix.

Last Thursday, we received the largest transmission from the SPF666 universe in quite some time, a Halloween Horror-themed mixfile for Martha’s Radar Radio show. Comprised of edits and blends of music from Friday The 13thLost BoysThe Hills Have EyesTetsuo The Ironman and more, SPF666’s takes range from dembow to hardstyle and are as rooted in legitimate study and affection for those genres as they are campy experimentation. We’ve got both the vocal and riddim versions of the “Childs Play Riddim” and “Glass Box Riddim” on premiere today, the former featuring Popcaan’s “Way Up” and the latter resuscitating Cassie’s classic “Me & U”. The perfectly swung lurch of the dembow beat form the backbone of both and choral pads (on the former) and haunting charms (on the latter add more than enough of a creep element. The riddims would be silly if it they weren’t so well produced and the vocals didn’t fit so seamlessly over the top, a welcome reminder that self-serious music doesn’t have to be stodgy. Find the full show after the jump and catch a track list here.

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Over the course of the past twelve months, the trans-continental South/Central American dance scene seemed to grow in both confidence in recognition as producers from Chile to Mexico flexed their various reinterpretations of folks musics and dance forms. Moreso, artists like Lao and Paul Marmota, Tomas Urquieta and Imaabs transgressed the traditional world of house and techno, drafting up wildly creative takes on dance music that subverted the hegemonic, often racially inferred physical and technological spaces in their respective cities of Santiago and Mexico City. We snagged Imaabs to lay out his favorite releases of the year, drawing source material from Chilean, Mexican, American and British producers. Enjoy and excuse the language barrier!

A selection is always a constellation, each track has to be able to open dimensions, generating movement, shouts, expressions, the body into a future, that does not subtract and multiply , but rather becomes intense; several of these tracks are instrumental, very percussive, others have voices that produce some recognition, voice, usually on a track is a face in which we identify.

This selection of the 10 most important tracks for me in 2014 focuses on links that open. For example, Rushmore’s “Bitch Please” has been apex at parties I played in Chile and Mexico; Marmota with “Malianteo” reopens a recognition territory between Chile, the apocalyptic vibes and Latin America ; the masterpiece called “Black Jesus” of Vaskular & Valesushi, two Chilean friends, thrill mixed with a Latin-Dembow dimension with Deep House vibes. Meanwhile, Kid Antoine is very European, but an expert in a post-apocalyptic latin dimension and that reminds me of Marmota´s Nueva EP (out now on NAAFI), resonating in such extreme places as Mexico and Denmark.

With transformations in mind, a song from the last quarter is “How About” of Dinamarca x Zutzut, Kassandra’s soft voice resonates much to the work of Kelela, but achieves a density and quite distinct flavor. Tomás Urquieta, my fellow battles, built one of the most consistent Eps I’ve managed to hear in this last year, beyond thinking about the Club, this EP is out of it, or at its limit; Somebody called it a kind of Post-club. Future Brown, opens a window and a way of doing pop, thinking of the club, and this track, Wanna Party, is but a manifesto of those osmosis. Another track that impressed me was the 2014, is the remix by Cyphr to “Moments XTC” of Zutzut and Lao (Extasis/Her), and the original track had struck me, but when he left the remix… I Said: amazing.

Inevitably you can not do a review of 2014 without mentioning Neana; means most of the old continent as USA, considered him as someone to must be listened to; the consistency is not enough, and successes are needed hits to the expected visibility and consolidation; the remix he makes to SPF666 is required in any dj set. Finally another great Latin American producer going to have to talk this 2015, what impresses me greatly is the expertise that takes into percussions, I think unusual and very unlike anything that has been done regarding club music.


In recent years, the name of Armand Van Helden has been somewhat sullied as he flies the EDM banner higher and higher, but then again, the Boston-born garage pioneer never cared much for the cerebral side of things. Portland’s Club Chemtrail team, SPF666 and Commune, have the right idea with this remix package though, pointing to two of Van Helden’s seminal 90s hits and wrenching them out of their former glory. In a sense, both of the Portland-based producer’s efforts are reboots of Van Helden’s originals, maintaining most of the original, strutting intent, but filling each respective joint with an influx of attitude, whether it be derived from ballroom, bubbling, or the dembow-meets-techno of SPF666’s Scorpion Cache EP. Portland’s got it going on these days and the Chemtrail buds continue to lead the way.


Previewed in mixes for the past several months, Neana’s wildly creative “Val Venis Mix” of SPF666‘s “Scorpion Cache” has finally reached daylight. Part mashup, part interpolation, the prodigious London producer wraps King L‘s C-Sick produced “Val Venis” for a percussive ride, drawing its menacing melody out over a vexing kick drum pattern. Discharged of its youthful fury, C-Sick’s beat takes on a playful, 8-bit quality that allows Neana to flex his four-on-the-floor grime-meets-ballroom into a deadly club projectile. It’s the type of track that transcends its various influences and it embodies the reason why so many producers are attempting to replicate Neana’s production stylings. Its quality also represents why so few of those producers have managed to come anywhere near his prowess. Download the remix below and look out for the Scorpion Cache EP, out next month on Club Chemtrail.