SECURE SHOPPING
Just in time for the Bank Holiday weekend, Spearhead’s BCee returns with the most essential D&B tracks of April.
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This sweet and touching release on Far Out acts both as a great introduction to a legend of Brazilian bossa nova and also as a retrospective at the same time. A huge solo star since the 60’s, Joyce’s voice has been indelibly linked to bossa nova music, as has the piano playing of Joao Donato who joins her here. With Far Out having released some of her more slept-on and wigged-out 70’s material (on the Visions Of A Dawn collection), this new album is a return to the soft and gentle styles that made her a household name in Brazil.
Backed up by her husband Tutty Moreno on drums, there’s a huge amount of warmth in these recordings. The call and response of opener No Funda Do Mar is enough to hook you in to the vibe, and also show the huge influence that this music had on the wider world of jazz fusion, from Rotary Connection right up to modern nu-jazzers like 4 Hero. The more syrupy, pared down songs like Donato’s classic Amazonas have a huge amount of charm while the familiar sway of Guarulhos Cha Cha Cha will have you shaking your hips involuntarily in no time at all.
There’s a cracking new version of her hit Feminina to savour, as well as some gorgeous duets on Xango E Da Bas and E Passa O Carrossel. As a companion to Visions Of A Dawn, this provides a perfect way to get the full scope of Joyce’s career and even on it’s own it provides an always appreciated burst of exceptional Brazilian bossa nova.
Review: Oliver Keens
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Things got off to a good start this week when Graeme “The Revenge” Clark turned up at the Juno Download office in a lorry and unloaded the entire Instruments of Rapture digital back catalgoue on our doorstep. Nice.
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Compiled by one of the lynchpins of the British funk scene, Fresh Out The Box is a 13 track collection of some original and remixed rarities. As well as being in charge of the Jazz Cafe, Adrian Gibson also runs his Freestyle label in order to break new talent in the world of jazz, funk, soul and Latin music. This latest collection is stuffed to the gills with quality spanning all those genres and more.
Funk fans will immediately revel in the cover of The Blackbyrds classic “Rock Creek Park” by Beggar & Co which stays faithful to the glorious original whilst also adding some club-friendly kicks and percussion. On a more organic live funk tip, Lack of Afro’s “I Can’t Dance With You” delivers plenty of Hammond-driven thrills and some huge drums to boot. The Jezebel Sextet’s “Mr Hot Pants” is another nu-funk bomb, with brass spilling out all over the track yet all held together with some precision bass and drums.
Bennson’s remix of “No I Can Do” however is more produced and sounds like prime 80’s boogie, in a similar vein to Junior or Jocelyn Brown. The Mo’ Horizons mix of “Life Is A Trip” also shows off their studio skills, looping parts of Gypsy Brown’s original and adding some bouncy broken beats into the fun. Mop Mop also does wonders with Valique’s “Where Is The Love”, building an intriguing mood with some vibes and thumb-pianos before dropping the beats and vocals for maximum impact.
Review: Oliver Keens
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Ramadanman/ Midland – Your Words Matter More Than You Know review
by Juno Plus on 30.04.2010 at 12:28pm
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A collaborative effort between long term friends Ramadanman (of Hessle Audio fame), and fellow producer Midland, this release sees the pair blend garage, dubstep and house into a fresh, free-thinking cut, with oodles of simmering soulfulness and deep contemplation. As with any release on Will Saul and Ninja Tune stalwart, Fink’s Aus Music imprint, the music tiptoes between genres, focusing on a cutting edge, leftfield vibe, where deep basslines predominate and new territories are explored with great aplomb.
“Your Words Matter”, the first track of the EP, begins with a soft-yet-punchy, purposeful drumbeat, sparse hissing SFX and a reverberating, screaming vocal snippet. A gently building textured soundscape is created, slowly evolving into a palette of crescendo-ing, slightly vintage sounding piano keys, deep bass and a vocal-led melody. It’s a track that is constantly moving on to new things, touching on deep house in the mid section and finishing with a minimal, garage-like bassline and dark, humming tones.
Likewise, with “More Than You Know”, on the flip, the sense of metamorphosis and progression is almost palpable. Contrasting hollow, dribbling, watery sounds with a knocking, thumping, tribal-sounding drum in the intro, the track weaves around sounds, samples and rhythmic patterns. The pair make great use of eerie, indistinguishable sampling, juxtaposing organic sounds with industrial machinations to create a sense of unease – reminiscent of Sabre’s “A Wandering Journal”. Yet this unsettling feeling translates itself into a profoundly felt piece of music. The shuffling rhythm drives things along fluidly and to experience it at it’s best you have to let yourself drift along with it. Twinkling, shimmering moments emerge as we approach the end, with the hissing beats contrasting with a dramatic, threatening noise in the background, which eventually takes over.
Review: Belinda Rowse
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The Midnight Juggernauts are set to release their sophomore album The Crystal Axis next month, and to celebrate we’ve got two of free tracks to give away from the Aussie trio.
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Since the turn of the century Parisian imprint Tigersushi has become renowned as a label with an unconditional love of music. Overseen by the daddy of electronic intrigue in Joakim, the label has forged an ethic of not being constricted by contemporary du jour sub genres, a policy that has seen them survive electroclash and its bastard offspring of the 2007/8 era, electro house.
This success was founded in part on the More GDM series of 12 inches and accompanying compilation, named in honour of 70s disco punk icon Gina X, which played host to a slew of electronic music icons, from Maurice Fulton to Metro Area to Cluster to John Tejada. Killer 12”s from the likes of Mu, Poni Hoax, Principles of Geometry and Krikor & The Hilbillies ensured the imprint remained a favourite amongst discothèque deejays. Tigersushi’s sub label Kill The DJ has also been responsible for canon defining mixes by Ivan Smagghe & Chloe and Glasgow’s imperious Optimo Espacio.
And now a decade on, Tigersushi presents More GDM X, a 2xCD compilation that celebrates the multiplicitous nature of the label’s roster which can be seen as a joyous glance towards the past that offers an exciting glimpse at future dance.
Split across the first CD is a cross section of classic Tigersushi hits and unreleased exclusives with several highlights. DyE’s ode to sweatshop loving Sportswear giants is a definite highlight, marrying the abrasive nature of a SebastiAn production with a sweet electronic melody, and is perfect for a more discerning dancefloor. Krikor & the Hilbillies “God Will Break It All” was a hit with DJs like Nadia Ksaiba and Rory Phillips last year and is infused with further punk funk energy here with the à la J-C Edit. In Flagranti fans will freak out to their Lost and Found edit of Freddie Mas, whereas meat eating Tigersushi fans might consider the benefits of vegetarianism after sitting through the six minutes of weirdness that is KIMs “Meat Is Murder”.
The second CD is compiled of Tigersushi’s more experimental output, with Joakim mixing together with no little degree of craft and subtlety tracks from Panico, Naxion, Principles of Geometry and his own music, in what can only be considered a cherry on the pie for fans of this label.
Review: Tony Poland
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Record Kicks have been kind enough to extend the deadline for the Ray Harris & The Fusion Experience remix competition by one whole month, meaning you now have until May 31 to submit your entry.
DJ Kaos, Ron Basejam and a killer 40 Thieves remix all pop up in Faze Action’s latest Juno podcast, showcasing the best of what’s been a stellar week on the disco circuit.
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Despite having a moniker which sounds like an all-female pop outfit from the 90s, you’ll be glad to hear that Girl Unit, is, in fact, nothing of the sort. A house aficionado of the highest calibre, the South London based producer blends elements of UK funky, 2-step, house, garage, Chicago juke and shades of dubstep with an iconoclastic irreverence for genre boundaries. Appearing on Bok-Bok and L-Vis 1990’s label, Night Slugs, the I.R.L EP marks the third release for the burgeoning young imprint, which was established earlier this year.
The EP – incidentally one of the most hotly tipped records around at the moment – begins with the title track. A dramatic, cinematic intro (rather reminiscent of D&B producer Rockwell’s “Noir”) initiates the proceedings with a thumping statement of intent and screechy, sliding synth embellishments. A hollow, clip-clop beat underpins the track, moving from dark, moody moments to more mellow, Mount Kimbie-style sections with masterful ease. DVA takes things down a tougher, rougher street with the tapping, grinding synthetics and raw industrial edge of his ‘Hi Emotions’ remix, whereas Young Gunz crew member, French Fries tunes in to a funky vibe, with shuffling rhythms, a nod to soca and lashings of sun-drenched tropical exoticism.
“Shade On”, the next track on the EP is a delicious, smouldering synth-led number, complete with slowly pulsating energy, and tapping, scattered drums. The gently rippling, chiming melody is complimented by snippets of hazy synths and moments mesmerizing atmospheric bliss. Rounding things off with perfectly articulated, sonorous piano keys, murmuring vocal snatches, fuzzy sonics and rumbling bass, ‘Temple Keys’ acts as the conclusive utterance from Girl Unit, on this absolutely outstanding EP.
Review: Belinda Rowse
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Kenneth Christiansen’s Echocord imprint presents a tight package that includes two of the best tracks taken off Fluxion’s Perfused album from earlier this year, plus a dynamic remix of the title track from Deadbeat.
Following several years on hiatus, Fluxion has returned with a flurry of releases since 2009. Perfused was Konstantinos Soublis’ second album in as many years and cemented his reputation for making ice cool dub-techno. Gaining praise as a collection of his most varied and vibrant tracks to date, the album found a new buoyancy and reduction of shadowy textures within his sound. Now, Echochord revisit the album’s sound in a concise package.
“Perfuse” is a gently rolling, dub-techno masterpiece. It is a slow and pulsating track where the sound patterns emerge steadily into one huge organic movement. The sub bass is as deep as you can possibly go and each synth stab arrives with might and vigour. The Jamaican styled dub reggae of “Wabbler” looks back to the early influences of dub in this more unassuming track. It is a live track, recorded in only one take but still contains the depth of texture that is always present in Fluxion’s work. Finishing the package is Deadbeat’s up-tempo version of “Perfuse”. The Canadian delivers a driving charge of dub-techno that pushes a fluid groove to the forefront of the track. With some intelligent spatial arrangements, this is one for connoisseurs of either dub or techno.
Review: Tom Jones
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The third and final in the Drummer series in which Sir Jeff of Detroit pays homage to the patrons of percussion. As with parts 1 and 2, each track on the EP is named after a legendary drummer, and in this case it’s the jazz cats that get the love: (Art) Blakey, (Jack) DeJohnette and (Alphonse) Mouzon all get a mention on the a-side, while messrs Bellson, Jones and Bruford get named on the flip.
The resultant tracks, however, are anything but jazzy: this is Mills at his deep, dark, minimal best. There’s nary a synth in sight, with the sole focus being some rather menacing Roland 808s. Things kick off with “Blakey”, an incredibly tense, hypnotic track that rarely deviates from its chosen course. “DeJohnette”, meanwhile, offers a more pulsating, almost alien vibe, akin to some of his recent work on Something In The Sky.
The b-side features yet more contemplative work from Mills, most notably the closing track “Bruford”, named after British drummer Bill Bruford, a rock musician-cum-jazz drummer who once toured with Genesis (don’t say you never learn anything here). Here we see Mills coax some extra thud out of his 808 to great effect.
Review: Aaron Coultate
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Oliver Ho has been making standout house and techno for over ten years now. As he continues to develop his sound under his Raudive moniker, he drops the experimental and unique yet wonderfully intriguing “Paper” EP on Macro.
Throughout those years, we have seen a variety of styles from Ho, from the deep tribal sound of his Universal album to the abstract sound of Veil, while his funkier house sound also seeped through under his Birdland project. But it is as Raudive that he blends all these style and ideas into one place. Last year’s “Cone” EP under the moniker was a huge success for Macro, who quickly established him as an important player within their family. Now he returns to the imprint to deliver one of their most club orientated, yet distinctively forward thinking EPs yet.
After the percussive, eerie intro of the title track, a subterranean rolling bassline opens up as he takes the tribal sound of his releases and morphs it into a slower, deeper minimal sound that fuses the funk of house and the electronics of techno. Haunting strings scratch over the top, building this strange atmosphere that is then intensified by the injection of power into the beat. It is a truly unique track that bends a sound of its own into a bona fide club tune. “Brittle” takes hypnotism to the next level. Its relentless, repetitious and manic vexation patterns blow you away amid pounding beats and short blasts of vocal loops. “Sienna” winds things down with an experimental vibe that is totally devoid of a beat. Melodic strings play out above the warmth of grainy crackles in this masterpiece.
Review: Tom Jones
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Juno Minimal 35 bridges the gap between this week’s minimal house and techno releases, with Parisian trio dOP featuring alongside Oliver Ho (aka Raudive) and Berghain resident Marcel Dettmann.
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Funky house of the classiest order, BSTC drop the “Love It” single complete with mixes by Phil Asher and Reel People, and suddenly summer seems almost close enough to touch.
The original combines a funky vibe (almost broken beat with a house swing and tempo) along with live keys and bass that provides some serious bounce, letting JL’s soulful vocals flow over the top like butter. The amazing expression in his voice isn’t hampered or impaired, in fact it’s complimented nicely by synth-brass that let him reach nice crescendos at the end of some lines.
The Reel People mix builds on all this goodness but firms up the beat even more, making it the natural choice for the floor. Phil Asher’s Restless Soul mix however is a real departure – making the vibe more downbeat and deep. The space that Asher creates in his mix (centered on the drums and some subby bass) really exposes the joys of the multi-layered JL vocal. There’s also an acapella to let you enjoy the vocal even more, as well as some bonus beats of Asher’s mix to let you use the crisp drums to your heart’s content.
Review: Oliver Keens
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The video clip for British rapper M.I.A’s new song “Born Free” has sparked a flurry of complaints, causing it to be removed from You Tube.
Take a walk along the hazy line between disco and house, and chances are you’ll find Berlin based duo Session Victim – aka Hauke Freer and Matthias Reiling – hovering around. The pair have released a slew of fine releases since 2007, most recently the superb Left The Building EP on Freerange sub label Delusions of Grandeur. So what lies in the record bag of a production team possessing such excellent taste? We spoke to Hauke about what’s been floating his musical boat in April.
Kyle Hall, Joy Orbison, Donnacha Costello and Will Saul will be rocking the stage at the Hybrid Life launch party this weekend, and we’ve got three pairs of tickets to give away.
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A staple on the Cologne scene, Jens-Uwe Beyer, AKA Popnoname has released two acclaimed full length albums on Italic, worked on the Sound of Cologne project and recently collaborated with Can percussionist Jaki Liebezeit. Now, following a string of contributions for Kompakt’s Pop Ambient series, he joins Kompakt Pop to unveil his latest work to the masses.
His original version of the track is an epic sounding piece of electro house that is loaded with Beyer’s pop credentials. Somewhere between the traditional sound of Kompakt and 80s pop from the likes of Pet Shop Boys, “Hello Gorgeous” has a classic shine. The tight drums, clean bass and shaking percussion is all brought together harmoniously by Beyer’s strong vocal performance. Later in the track, the dance vibe starts to filter through as xylophone melodies begin to fuse with trance-style pads. Preceding the original however, are two dance remixes that signal Popnoname’s intent from the off.
Opening with a rework from veterans Terranova, “Hello Gorgeous ” is turned into a streamlined, functional club track. Swirling synth arpeggios unload over a jacking house groove in this killer remix. Popnoname’s own “Le Klub Mix” keeps more in line with the original, however all but drops the vocals in favour for more trance and techno styled elements.
Review: Tom Jones
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Few DJs in recent years have had such an incredible rise to the top as Naples’ native Riva Starr. His Balkan-influenced collaboration with Noze “I Was Drunk” has become his calling card and now he’s treating fans to this incredible remix collection, on Jesse Rose’s Made To Play imprint.
The legendary DJ Sneak, a colossus of Chicago house and an inspiration for a generation of producers, turns in two unique mixes that are both utterly essential. His Drunken Main mix is simple but wildly effective – taking the original, chopping up sections and extending the tension via some masterful build-ups. It’s the perfect tool for DJs – staying faithful to the original while still adding that peak-hour excitement – and there’s also an instrumental to play with too. Sneak’s Drunken Disco mix is more radical but just as powerful. Stripping out the accordions and acoustic guitars, he layers the vocal over a deep jacking beat that slowly builds around it. More radical but just as cool is Spiller and 2 Guys in Venice’s remix that transforms the whimsical original into a harsh, almost industrial electro stomp before brilliantly ushering in the original over a cavalcade of lice handclaps.
Horatio and Katoline come through for the tech house fans with a stunning deep and driving version as do Israeli duo P.T.M, who construct a thrillingly intense mix that uses cuts from the original to lift the vibe to grand heights. As if all this wasn’t enough, the single also includes a huge new mix of “Dance Me” by Jesse Rose that can only be described as explosive. A truly great collection of mixes from the cream of the crop – you’d be mad to pass up on these drunken masters!
Review: Oliver Keens
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