This week we caught up with Parisian House, Bass and Techno innovators "Sound Pellegrino" for a chat about their latest release,
their future plans and why life is too much work, but their is a Pool Party at the end of the Tunnel.
Not only that they have also recorded an exclusive podcast for you guys to listen and download, the generosity from
the SP team doesn't end there either. They have also given you the chance to download a brilliant track from Matthias Zimmermann
"Heinrich"! It's an unreleased track extracted from his upcoming EP "Momentum Series, Pt. 1 - EP" Enjoy!
Hold up - Sound Pellegrino crew inside! Number three in their Sound Pellegrino Presents SNDPE series and as per usual, it's jam packed full of killers from both label casuals and loosely affiliated clan members. As the name suggests, the sound is inherently raw and gritty, direct from the gutter and packing enough punch to blow your system out. House, ghetto, bass, you name it, there's something in here for everyone and if you're into the Night Slugs end of the spectrum, then look no further! Toyc's "Analog Drums" is particularly gnarly thanks to its gritty backbone, but it's all highly alluring and comes heavily recommended. Cop it, son!
Thanks for taking the time to chat to us, how is life treating you all?
Orgasmic: All good, already starting to work on the next compilation, playing super nice gigs, released a French rap album a couple of month ago which is working pretty well here, which has led me to get more confident about the music I produce and start to think of releasing my own music finally!
Teki Latex: Life is too much work, but there’s a pool party at the end of the tunnel.
Emile Shahidi: It's not treating us bad at all! We are wrapping up a season of the label that included the release of two collective albums, a couple of tool-oriented EPs on vinyl, the celebration of our 5th anniversary with 6000 people on 21 June, and the signing of a license deal for our artist Matthias Zimmermann and forthcoming “SND.PE” compilations with Universal Music.
So for those who are uninitiated; tell us a little about the Sound Pellegrino movement and how it came to fruition
Teki Latex: in 2009 we were all part of a label called Institubes, and at some point we realized we wanted to release more club records more often, and we were bored with all that hard French electro surrounding us. We looked for inspiration outside of our surroundings, and we decided to get back to the essence of club music, house, techno, while keeping our rap background as an inspiration. Out of this came Sound Pellegrino, initially a digital-only label releasing one-off projects by artists coming from all over the world. Things have very much evolved since.
How would you describe the label’s sound?
Emile Shahidi: Modern. Dressed in Yellow & Black. Present-phobic.
Teki Latex: club-obsessed electronic music, Techno & House made by people who have no idea how to play it by the book.
How do you think Sound Pellegrino Presents SNDPE Vol 3: Raw Club Material differs from the previous two editions?
Orgasmic: First one was a first try so maybe it’s more going in many directions, second one was Crossover Series dedicated (a special series of collaborative EPs we do) and this one explores the more Techno/cold side of our spectrum, more similar to the first one without the funky/Beat tracks.
Teki Latex: This one is more technoid and metallic, there are a lot of tools, and even the melodic tracks evoke rust, rock, concrete, lava, hostile materials.
Emile Shahidi: All tracks are very charismatic and instant crushes as far as we’re concerned but the emphasis here is to put back the DJ in the chair of the Auteur and these tracks are our attempt to provide the Auteur with new slang :)
Do you find that compilations are a good tool to express the label sounds as a whole whereas an EP may focus on an acute area of the SP sound spectrum?
Orgasmic: It’s indeed a very different thing: EPs focus on one artist, whereas it’s easier to expose the sound of the label to a larger audience than “just the DJs” with compilations, you get a different type of attention by the media which helps to talk to a larger audience.
Emile Shahidi: Exactly. Also if you look at the label’s 5-year discography you can distinguish a few periods and transitions over the years. The bi-annual pace of our compilations allows us to give these ideas the album treatment by asking our family of artists their take on them, and to work with, like, 20 different artists over the year, which is simply amazing.
What is the process for selecting the music for these compilations?
Orgasmic: Brainstorming first. The three of us sit around the table and throw ideas, some that we had in a corner of our head we put on the side before we start thinking about it, some are coming while we’re chatting and after the first reunion we have the “body” of the compilation in mind even if we don’t have any music yet, and what is crazy is that— so far—it’s naturally making sense when we receive all the tracks from the compilation.
Emile Shahidi: And the cast is a mix between the core of the label (Orgasmic, Matthias Zimmermann, Joe Howe, Nicolas Malinowsky), affiliates and nephews, newcomers we really want the collaborate with, old friends (such as Modeselektor) and the occasional dream come true such as Dexter and Gant-Man teaming up on Vol.02 for instance.
What was it like working with Ratchett Traxxx? Did you approach the producer for music or was it the other way around?
Emile Shahidi: Let me just say, in case you are wondering: we don’t know his actual name so don’t ask! :)
Teki Latex: He’s the ENIGMA. I know he’s a controversial character and I don’t agree with all of his views on other artists’ music, but he could be the worst asshole or a piece of software programmed to assemble drums and tweets randomly for all I care, the only thing that matters at the end of the day is: is the music banging? It is! And release after release it’s always stuff I want to play in my sets. He caught our attention with his twitter antics but when we listened to his music we were blown away.
Which new upcoming producers on the compilation should we be keeping an ear out for in the near future?
Orgasmic: Friendship, these French kids from the east of France are very promising. We’re following them from quite a long time now and they’re definitely ready and coming with tons of crazy good material…I play at least 5 tracks from them per set at the moment! Watch out for their vinyl releases on their own label, Friendship records, and their future release on Expect No Less, my vinyl only/tool focused imprint.
Emile Shahidi: Nicolas Malinowsky (who’s also our art director responsible for every artwork, every flyer, every logo) is present on all three compilations and he has yet to have a solo release. Looking forward to seeing how this shapes up like.
Can you each tell us your favourite tracks on the compilation and why?
Teki Latex: It is impossible for me to tell, I love them all in a different way and they each serve a different purpose in my sets.
Orgasmic: “On Top” by Ratchett Traxxx feat. Paul Fisher is my favourite, it’s the one I play the most, its a hit song to me and it’s incredibly pleasing to mix, it’s a Techno AND a Rap song at the same time, tailor-made for me I would say. I also like very much the Crystal song which has kind of an old ‘Warp’ feel to me with their very special type of chords and synths included to that which makes it really unique.
Emile Shahidi: With so many great DJ tools on the album, I have to say I’m also very fond of Joe Howe & Matthias Zimmermann’s “Jules” and Koyote’s “No Desillusion Baby” that both showcase fantastic melodic and song writing skills. The latter is the first collaboration between two artist signed on Sound Pellegrino and it speaks a lot about the chemistry between them that they went for something very rich, layered and structured like this.
Finally what can we expect from you all during the summer and beyond?
Teki Latex: Preparing the second season of my web TV DJ show Overdrive Infinity (http://dailymotion.com/overdriveinfinity [^]). Working on making each of my DJ sets even more of an unforgettable experience. Playing Tomorrowland in Belgium, La Calypso in the South of France, as well as other gigs all over the place during the summer. Also looking forward to playing Holy Ship in January.
Orgasmic: Working on more French rap things due to next Autumn and working on my solo stuff which I don’t know the format yet…
Emile Shahidi: I’m going to Rome for a week. Occelli in Foglie di Castagno: I’m coming for you and I won’t leave until I have bought all that’s available of you. Then on September 1st, Matthias Zimmermann has a great Techno EP coming out called “Momentum Series, pt. I” of which you can already have a taste on Juno!
The London crew who've given us the likes of Rudimental, Clean Bandit, Gorgon City and many other acts, Black Butter have been spreading love for four years now. Judging by this sumptuous set, they're not stopping any time soon. Arguably the darkest collection of the series to date, it ranges from sinewy, waspy bass jackers (DVWLX's - "When I'm Alone") to late night tech funk Berlin-style lazer-fests (BNRY's "Something North") via slinky somnambulant hazy techno (Troy Gunner's "Chain Reaction") and twisted, paranoid UKG hybrid (Jaded's "Gully Creeper"). Each one primed for total dancefloor destruction, Black Butter have delivered a premium package right here.
Bristol's shady Apexape and Chris Lorenzo (of Cause & Effect fame) have teamed up, and with their sizzling anthem "Got To Give" appearing in two forms, it's a match made in dancefloor heaven. The 'heavier' mix is just that - with a descending doom-bass riff luring us into the kind of bass-house Hades to which you must surrender. The 'lighter' mix is only slightly softer with bouncy and percussive garage-house intonations abound. 'Listen Up" is perfect mid-set fodder - all skippy beats and lovely deep synth washes. A class act.
It's been a while since we were last treated to a fresh release from Airhead, but now he's back with a four tracker for long time cohort James Blake's 1800-Dinosaur imprint, which finds his wayward beat science spanning all kinds of moods and tempos. The lead track sports some house-orientated signifiers but there's still plenty of room for grubby bass and off-kilter percussion without sacrificing the groove. "Shirin" meanwhile flexes a grime attitude over some loose rolling drums with a hand played feel that offsets the plastic string stabs perfectly. "Shekure" has greater links to the earlier Airhead output, keeping things sparse and fractious while the tense atmosphere reins supreme, and then "Hundred Years" delivers another swerve loaded with powerful pads and tweaked out hip hop vocals.
You can rely on Paul Arnold's Fat! Imprint to deliver the goods when its comes to blistering, garage-inspired house belters! On the label's latest release, De Contrebande and Development join efforts to produce three, bass-heavy tech scorchers for your shaking pleasure. "Tell 'Em Like It Is" contains one of the tastiest basslines we've heard in yonks, and the same goes for "Die Tryin'", where the duo blend bass and house into perfect unity. Put quite simply, "Pee In A Bush" is a brain-melting grenade for the dancehall!
The inimitable Hybrid Theory drops quite a number on the Party Like Us imprint, providing what quite possibly some of his freakiest material to date. "Take Me Up" is the bomb here, where HT lashes in a bunch of abrasive snares of a broken house beat that's strictly for the floor - those seductive vocals riding over it are the cherry on the cake. Check "Drege" too, whose low end is about as gnarly as we've heard from the man.
Deckstar and Steve Brooke's Nu Wave label has been on a roll as of late, releasing some of the best new artists around when it comes to funked-out house music. This time, label newbies Ryan & James are accompanied by Chris Pottinger on a full remix EP of their "Ain't Nobody" tune. Chris Gresswell provides a deep, subby bassline, while Cavna is in a party mood with his sample-fuelled, old-school house refix. High Society step up and deliver another bouncy house version, while Boy Raver and Pianoman team up to deliver a Chicago-inspired bomb made purely for a hot, sweaty summer dancefloor.
In the wake of all this grime business blowing up at the moment, it seems an apt time be delving into this compilation of early Plastician jams from a time before Mr Hawtin forced him to change his name. Coming at the emergence of dubstep when it was also called sublow or sometimes just grime, it's a thrilling reminder of the possibilities that were opening up in gritty urban electronic music at the time. With a primal approach and that icy minimalism that made the early material so exciting, there's not a duff moment in earshot across the whopping 21 tracks included here, and they've all been remastered for maximum contemporary impact. What more could a bass lover ask for?
After his Dego moniker burst back onto the scene with a killer release for Eglo alongside regular cohort Kaidi Tatham last year, Dego is going it alone for Falty DL's Blueberry imprint with just the kind of plush broken beat finery you would expect from the man. "Nuts!" even slips a little bit of Hashim into its slow but dextrous rhythm, but largely the funky Moog bass and sublime chords rule the day. "Could Murder A Burger" ramps the energy levels up while getting into a more circular pattern that opens out once some delectable piano chords worm their way in. The original version of "Celestian Ditton" finds Dego drifting into a more dreamy downtempo mood without losing the forwards momentum, which Falty DL then twists up into a more flamboyant version that stays respectful to the source.
Better known for the expertise on funk, Jalepeno recently took a punt on house producer Marcus Jakes, and it's really paid off. Following the success of "Up To Me", he's back with a new track and he clearly can't contain his joy. "This Much" is an epic accelerator, escorted along by a deep rolling bassline before giving way to hands-in-air piano and evangelical vocals. Fans of the darkside are catered for too with SLK delivering a haunting, breaky techno version.
Traum are faultless in their fondness for beauty in techno and Berlin's Egokind fits their dreamy agenda like a smooth glove. "Nothingness" sees a naive melody float above a warm clicky shuffle, all lighted sprayed with a hazy fizz like an Amazonian mist. The remaining two tracks feature trippy producer Ozean, whose deep and gentle "Fatigue" resembles Ron Flatter at his most fragile and the remarkable "One Love," which is both a dazzling and tragic broken beat bleep-fest like no other.
Buraka Som Sistema's Enchufada label has sourced artists from many exotic locations, but this time they've found their latest signing lurking in the decidedly more urban Brooklyn, New York. However that's where the city ends, as "Barulho" is pure tropicalia through and through. There's two tracks featured here: the deep and slow "Fradonia" which kicks things off with a saucy digi-cumbia grind, and the stark twerk-fest of "Pablo And Andrea" which boasts some pretty impressive and frankly otherworldly call and response vocal samples.
It sounds like Norwegian producer Jon-Eirik Boska is channelling a range of techno sources for Interiors. While the title sounds like the name of a design magazine, the musical interior is quite different "Aspartam" starts it off in relatively sedate mode, the shiny dewdrop melodies combined with a stepping rhythm, while "Caves" is far more abrasive. Over a frazzled rhythm and hammering minimal beats, he drops throbbing bass licks as the track drops and then climaxes in quick succession. "Safehouses" is more understated and stripped back, but carries with it a sense of menace thanks to the bleepy bass. Finally, Boska drops "Ferns", which sees a return of sorts to the territory occupied by "Aspartam" - the only difference is that this time, the rhythm is more jittery than Shane McGowan with alcohol withdrawal symptoms.
Just like an old school white label, there's a really cool air of mystery about this whole release as you approach it, and with Taal Mala's short-but-perfectly formed repertoire tipping nods at myriad genres, you're unsure what to expect. It's a vibe that's retained throughout the EP, too; while the title track fuses loopy techno, footwork and breakbeats, "Bubble" is a dedication to the darkest of jungle foundations with added ghetto-tech badness and "Love Lies Bleeding" oozes delicious, soaking wet sub drops and trappy vocal elements. Grenier complements this unabashed flavour-free-for-all with a sharp and angular remix of the title track. As with the originals, it somehow manages to celebrate a million genres - classic electro, footwork, breakbeat and hardcore. MORE than something for everyone!
Rinse FM badboy Shox goes in for the kill on his latest outing for the always quality Trouble & Bass label. "Drone" is a perfect example of his style, which sits somewhere between UK funky, bass and 2-step; a rigid percussive pattern is engulfed by one mean flurry of low-end and a whole load of glitchy synth oddities, providing a killer for the dancefloor and headphones. The Sister remix is straighter, more to the point and backed by a broodingly gnarly repetition of kickdrums. Lastly, it's fair to say that "Pickup" is the housiest of the lot, where a stumbling 4/4 pattern is surrounded by sparse melodies and a 90s-inspired bassline. Boom!
The ten year celebrations from Hyperdub continue apace here with the second of four planned label compilations arriving with the stated intention of casting "some sunshine" over the label's sometimes "dread filled reputation". Arriving on just one disc this time round as opposed to two, the fourteen tracks nevertheless features productions from DVA, Morgan Zarate, Cooly G, Jessy and Burial among other Hyperdub regulars, who are joined by the vocal talents of Dam-Funk, Fatima and others. Perhaps most exciting is the inclusion of an unreleased track from the defunct partnership of Dean Blunt & Inga Copeland; fans of the latter will also be intrigued by Kode9?s "Lies Lies", which features the talents of Inga in her new solo guise, copeland.
Jay Cunning's Sub Nation follows up its successful launch release from Dead Belly with another contemporary fusion of rave's finest and most historic elements, with "Damaging" a full-on assault on the senses. All loopy and steppy, it's two parts dancehall, one part ghetto with a cheeky sprinkle of house in there, too. "Show Me Fire" continues to stir the heady brew with elements of classic LFO, ragga vocals and deep-seeded bass that rumbles throughout. Covering more bases than an entire World Series tournament, there are very few 130-minded DJs who wouldn't benefit from this.
It's still early days for Inkke but this release for Local Action should find the emergent grime-influenced producer reaching a wider audience with his distinctive synth rich take on bass music. With six originals to choose from, this EP is a perfect primer for those wanting to get a feel for the artist, ranging from the uptempo thrust of "Thinkk Star (Club Mix)" with its 4/4 stylings through to the exotic slow-motion funk of "Paradise" featuring the soulful croon of Julia Jaban. There is diversity at every turn that points to a multitude of fates awaiting Inkke as his star rises in the multifaceted work of electronic music.
Columbian singer/songwriter and firm friend NoMad friend Estel Luz lays down a heartfelt story of seasonal sweetness on this release while emerging engineer Epi lays down a respectfully sparse and melancholic halfstep beneath. With a finish that will fit festivals and daytime airwaves alike, it's as catchy as it is weighty. Looking for more dancefloor pump? Jump on Graziano's UK funky style 4/4 blend. Retaining all the elements of the original while giving it go-faster groove stripes, Graziano has created the perfect counter-solution. Sweet as.
With a name that nods to My Bloody Valentine it's not surprising to hear a whisper of shoegaze sneaking into this debut single from Soft As Snow. As the latest signing to Houndstooth this release sits comfortably next to the gothic tinges of Snow Ghost, with vocalist Oda Egjar Starheim calling to mind Karin Dreijer Andersson of The Knife and Fever Ray fame. There's a canny mixture of noirish pop and expansive electronica, with the duo unafraid to embrace snappy time signature changes and bombastic choruses in amidst the more subtle elements of their sound. With six distinctive songs to announce themselves with, it's a powerful debut for an act set to tear up festival circuits in the near future.
Subverting the creative flow from gritty trap badness of their debut self-titled release, here we find the Cali trio in a more cosmic mind-state. Showcasing a richer sense of musicality and depth, it's hard not to recall the likes of Bassnectar circa Mesmerising The Ultra. Highlights include the sombre, poignant chords and oriental influences on "Phuture Vintage" and the planet-bounding 808 clicks and snaps and alluring riff positivity of "Whispers". A highly accomplished EP, Slick Trilla have shown some serious class right here.