ARMAND VAN HELDEN'S NEW RELEASES...
Armand Van Helden’s artist album ‘Ghettoblaster’ will be released on Southern Fried Records spring 2007, it includes the single ‘Touch Your Toes feat. BL & Fat Joe’ which is already receiving radio play from Pete Tong & Judge Jules on Radio One in the UK.
Todd Terry All Stars feat. DJ Sneak, Kenny Dope, & Tara MacDonald ‘Get Down’ is making rounds and due to be one of the massive records of 2007 - stay tuned.
‘Masterclass #03 mixed by Todd Terry’ will be released summer 2007 on MN2S. Look for 2 CDs of rounded bass and driving vocals from Todd The God.
OUT NOW
‘Sessions mixed by DJ Sneak’ on Ministry of Sound Recordings. Sneak delivers two CDs of jacked out Sneak Beats for one of the world’s premier mix series.
Junior Sanchez ‘Dirty Dirty House Vol. 1’ on System Recordings. A prime example of Junior’s ahead of the curve DJ style setting trends rather than following them.
REMIXES
Be sure to check out Armand Van Helden’s remix of Candie Payne ‘I Wish I Could Have Loved You More’, DJ Sneak’s mix of Justin Timberlake ‘Sexyback’, Junior Sanchez’s mix of Madonna ‘Jump’, and Todd Terry’s pumped up version of Maike Ludenbach ‘Dirty Dancing’.
NEW PROJECTS
Be on the lookout for more releases from the Todd Terry All Stars, the 1200 Warriors debut album executive produced by DJ Sneak and featuring Wu-Tang and Ky-Mani Marley, Good Charlotte songs produced by Junior Sanchez
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BIOGRAPHY
You know Armand Van Helden, right?
The self-styled ‘bad boy’ of house, the man with a mountain-size ego, the six-pack framed poser with his joke of an Ali G-like pencil beard, the money-hunger remixer who famously cleared the dancefloor at Space, who really wants to make hip-hop, but can’t.
You know Armand Van Helden, right?
The same Armand Van Helden that doesn’t own a flat, or a car, who chooses to walk around his adopted home of New York, rather than chug about in a chrome-plated SUV.
The homeboy who was championing the raw, energetic, fun sound of hip-house long before it became a fashion accessory. The straight-talking, no-nonsense trainspotter who still spends hours thumbing through thrift stores in search of tunes to sample, the music fan that owns thousands of rock records.
You what? “ I love classic rock,” says the 33-year old producer.
“I love digging in the crates. If you’re going to make music then you’ve got to know music. But I won’t pay more than a dollar for the classics. That’s my whole thing – it’s about the digging aspect, the challenge - the fun of it. The Steve Millar Band, Led Zeppelin, Blondie… I could go on about my favourite rock music all day long. If you’re a house head, true at heart, and you don’t like the White Stripes then you’re out of your head. 
The groove, the bass… it is house music. Now, rock’s fun again, and it’s making the club scene fun. I think we’re going to find a balance between house and rock.”
Yes, Armand’s been less than complementary about dance music in the past. Yes, he’s sometimes indulged in his own fantasies and come up short with underwhelming house and hip-hop ‘concept’ albums.
Yes, he pissed off several hundred European clubbers in Ibiza. And, yes, he has been – as he admits – “cheap” at times. “I can be blunt and aggressive,” he concedes. “I don’t have a lot of sarcasm in my conversation. I’m not all ‘Mr Funny’.
In fact, I’m always dead to the point. But that’s because I have a deep love of what I do and I’m not playing games.”And yet beyond the misconceptions rest the tunes themselves, a lasting legacy of house music masterstrokes that are so brazen they virtually slap you in the chops and command you to swing your hips and shuffle your feet. And they stretch back virtually as far as his career itself.
A b-boy at heart, Armand’s move toward house was geared by both an open admiration for Todd Terry’s aggressive cut-and-paste dynamics and a passion for the late 80s hip-house of the Jungle Brothers, Tyree and Fast Eddie. “One of the good aspects of hip-house was that it was lyrical,” he says now. “It had a great impact on people. Those records are still memorable now.”
After spending his childhood at army bases in Europe before settling in Boston, it was hip-house’s mix and match ethos that provided the basis for the tough, sample-heavy cuts with the city’s X-Mix Productions outfit that first drew attention his way. By 1992 he had become both promoter and DJ for the after-hours Loft club and made his solo debut – ‘Stay On My Mind/The Anthem’ – for New York’s Nervous records.It wasn’t long before the call came from the then-dominant Strictly Rhythm stable, via whom Armand soon built up a rock-solid fan base with both English and American DJs, thanks to a stream of tuff club cuts – including 1994’s ‘Witchdoktor’ EP - that amplified tribal house’s template and sounded devastating on the dancefloor of the best club in world, the Sound Factory.Then came the Armand basslines. You know, the ones that fused jungle’s colossal sub-bass with razor-edged, steel-rimmed beats and virtually commanded your arse to kindly make its way to the dancefloor: Tory Amos’ ‘Professional Widow’ (a UK number 1 back in 1996), Sneaker Pimps’ Spin Spin Sugar’, CJ Bolland’s ‘Sugar Is Sweeter’ and Nu Yorican Soul’s ‘It’s Alright, I Feel It!’“I have attention deficit syndrome,” he laughs, by way of explanation. “I get bored quick.”
In a sea of ‘faceless’ artists, Armand floated adrift by a mile, and the UK’s dance music media promoted him as a superstar. 
FFRR signed him up, thinking they’d found a new wallet lining. Expectations were raised. But while Armand embraced the attention behind the scenes he continued to do what he’d always done, “make beats”.
In 1999, one of them – ‘You Don’t Know Me’ - reached number 1 in the British pop charts. A top-drawer house album – ‘2 Future 4 U’ – followed, with Armand continuing to mix –up styles. He continued to dent the UK charts too, with club crossover hits like ‘Flowerz’, ‘Koochy’ (a top 5 hit in 2000) and ‘Why Can’t You Free Some Time?’ While as a remixer, Armand turned tricks for a string of platinum-selling artists, including Puffy, Janet and the Stones.
Now, as house music’s star has supposedly fallen from grace, one of the world’s most sought-after DJs is hitting back with three new tunes, and a mix album that fuses his joint passions for rock and house, for Southern Fried.“I have been away,” he chuckles. “But I’ve been enjoying myself. For me, I worked hard in the past and I wanted to enjoy the fruits of my labour. Everybody has their run, as they say, and I had my run…I was fortunate.
I accept that times have changed. I’m not trying to match that again.”Times may have changed, but it seems Armand’s instinctual knack for soaking up various musical influences and spitting them out again in the form of an undeniably gut-wrenching killer track hasn’t. “Before I go make a song I listen to some old records,” he says. “Sometimes I don’t even know who the artist is. Sometimes the cover just looks good: y’know, with the dudes with the skinny leather ties – you just know that gotta’ be some good ‘80s shit.”‘Hear My Name’, one of those killer new tracks, sounds like Armand’s roped Blondie and Cocteau Twins singer Liz Fraser (“good ‘80s shit”) into getting together for a glorious one-off house music hoedown. In fact, it’s two girls – who call themselves Spalding Rockwell – that Armand found singing in a local New York bar. “Nicole and Emile are into the whole electro-punk thing,” he says, ever detached from scenes. “They can do the Peaches thing and then some straight punk shit.”“I just do what I feel,” he reasons. “Honestly, when I wake up – in the afternoon usually – I love to make music in my studio. That is the number one thing in my life. Everything else is secondary. I love to lay down whatever is in my head – to get whatever is in my head out there into the public eye.”
