Masterton

Masterton: I played a DJ-set in the afternoon at this year’s Tag Am Meer Festival. It was lovely to see so many people out on the beach already. I played a couple of my favourite tracks along with some brand new ones. I also created a few edits which you can listen out for in the mix too.

01 Madmotormiquel & Sebo “Boys Boys” (Katermukke)

One of my favorite songs on Katermukke. It’s a great combination of the guitar and the lovely vocals. Unfortunately, the song was taken down a while ago, so I’m happy that I got a copy.

02 Metro Area “Caught Up” (Environ)

The original 12″ from 2000 was one of the records I played most back then. It’s funky, a bit melancholic and the bassline makes it a superb deep house track. Only recently this track is back in a couple of my sets.

03 Tigerskin & Jack Jenson “My Tongue” (Exploited Ghetto)

“My Tongue” has a funky piano and bassline as well. But with the main synth on top of that, it’s helpful for a transition to deeper tracks.

04 Stimming & Johannes Brecht “Stekker” [MSTRTN Edit] (Diynamic)

Stimming is one of my favorite artists. I love how he creates grooves with minimalistic elements. In “Stekker” Martin and Johannes introduce a powerful lead very subtle which transforms the whole track.

05 Maya Jane Coles “Cherry Bomb” [MSTRTN Edit] (I/AM/ME)

Maya Jane Coles’ new track is very playful. But at the same time it’s powerful with a rolling bassline. In my edit I tried to focus on these parts and to reduce the vocals and pad sounds.

06 PHON.O “SOAG” [MSTRTN Edit] (Pitch Control)

PHONO.O is an exceptional artist from Berlin, who has released on labels like Monkeytown, 50 Weapons or BPitch Control. SOAG is one of his tracks that has a massive groove and great chords.

07 Agoria “Up All Night” (Sapiens)

For me “Up All Night” was an instant favorite. I also featured it on my last mixtape. Every time the piano comes in, it’s such an emotional moment. But it also has a great arrangement that makes it a huge club track.

08 Mat.Joe “Airplane Mode” (Katermukke)

If you’ve listened to some of my original tracks, I think you know why I really like this one. It has a deep bassline, lovely melodies and is a little heavy-hearted but very positive at the same time. Very nice work.

09 Ryan Murgatroyd “Kanna (Kostakis & Murgatroyd’s Re-Edit)” (Get Physical)

I’ve always been following Get Physical. Their “Africa Gets Physical” compilation features the track “Kanna”. I like it, because it has an interesting arrangement and a fine bassline with some crunchy sounds on top. In this mix it also helps to do a transition to more techno-influenced tracks.

10 Ane Brun “To Let Myself Go (Dennis Ferrer Remix)” (Objektivity)
11 Ane Brun “To Let Myself Go (André Hommen Remix)” [MSTRTN Edit] (Objektivity)

These are definitely two of my “go to tracks”. Most of the time I play Dennis’ remix first, which introduces the vocals and has a simple yet rolling bassline. Then I add André’s remix by layering both vocals which produces an interesting sound. Finally I take out the first remix and this very subtle leads to the darker tones of André’s remix.

12 Magdalena (DE) “Should I Stay” (Diynamic)

Another one I featured on my last mixtape. This song seems simple, but is actually very beautiful. It has an incredible arrangement and awesome work on the drums as well.

13 André Hommen “Sensory” [MSTRTN Edit] (Objektivity)

“Sensory” came out just a few weeks before the festival and I definitely wanted to play it. It’s a huge techno track with an incredible and surprising change, when the main synths come in.

14 Robert Babicz “Fading Hearts” (Bedrock Records)

With “Fading Hearts” Robert created one of my favorite basslines. It allows some unconventional breaks, which are very well received. Also people tend to think that it’s going to be very relaxed when the strings come in – but they are pleasantly surprised when then the drums add a lot of drive.

Shares 4

Tags:

ads
  • Mark Betteridge

    Mark Betteridge is C-U's owner and founder. C-U was formed to support up and coming artists in the underground and promote genres that were being ignored by the dance music media.