Artist: Various Title: Jalapeno Funk 2 Label: Jalapeno Genre: Funk Format: Digital
Following on from the initial Jalapeno Funk, the beat-centric label’s first foray into the world of compilations, comes its equally vital and zesty sequel. With label stars like Kraak and Smaak, Skeewif and Max Sedgley present and correct, as well as a host of others, it’s a pleasing mix of vibes and genres and quality the whole way through.
Opener “Whole Wide World” mixes and dices between beats and samples with a deft hand from the appropriately named Radio Trip. Dr Rubberfunk also rocks the samples, this time as a backing for some sassy and jazzy female vocals from Sitzka. Kraak and Smaak’s “Squeeze Me” gets a fun and fresh makeover from A Skillz, who scratches the vocals over a heavy bassline. Tape Loops’ single with Finley Quaye on vocals, “Never Do That,” gets its rocksteady rhythms bolstered by Parker on the remix, while Crazy P turns Smoove & Turrell’s “Beggarman” into a delicious nu-disco diamond.
While quality beats underpin everything from Jalapeno, the range of styles and genres is genuinely impressive. Look no further than the sitars on Skeewiff’s “Ruby’s Revenge” or the awesome 8-bit tech-funk of Neighbour’s “Pistachio Ride” as an example. With additional treats like an acapella of Doug Lazy’s “Let It Roll” on offer as well, Jalapeno Funk 2 is yet another hot hot treat.
It’s been auspicious week for all things electronica, with fine releases from the likes of Actress, Kyle Hall, Tiger & Woods and of course a couple of sly reissues.
Amidst all the doom and gloom surrounding London’s nightlife, Bermondsey club Cable have gone and put a big fat smile on everyone’s face by announcing a stellar summer line-up.
Recorded in 1978 but lovingly excavated from the vaults and remastered by Trad Vibe records, this third album by French band Cortex is a wealth of funky delights. Like Steely Dan, the core of Cortex consisted of pianist Alain Mion and drummer Alain Gandolfi, but for recording their number was swelled by a host of session musicians. Combining fusion with pop and rock melodies, they seriously sound like they were in the same zone as Stevie Wonder circa “Songs In The Key of Life” – the use of synth basslines and funky clavinets in particular recall the great one.
Recalling another great lost album, Shggie Otis’s Inspiration Information, the atmosphere is tight and warm as songs like “Images” follow some superb jazzy chord changes. “La Bulle” is a sexy and slow rocky number that owes a debt to Isaac Hayes, and sounds like the kind of thing Air listened to around the time of Moon Safari. The uptempo disco of “Running From You” is made slightly camp due to the clipped English language vocals, but it’s still a hell of a tune (ideally suited for a cosmic Todd Terje edit). Closing track “Matin Gris” is the most downtempo thing on the album and a fitting send-off, with the glorious analogue phasing on the synths proving a real highlight. This is funky French rock at its best, and very deserving of a reissue and a whole new audience.
Artist: James Holden Title: Triangle Folds Label: !K7 Genre: Minimal/Tech House, Techno Format: 12", Digital
Border Community head honcho, James Holden has always maintained a kind of DJ free spirit which has enabled him to work outside the usual constraints of techno as we know it. This, alongside his dedication to new production talent has made him the perfect choice to compile the next instalment of !K7’s long serving DJ Kicks series. Out later this month, the compilation is, as usual, accompanied by a single from the UK producer. “Triangle Folds” is Holden’s first release in four years yet still feels like a logical progression from his last effort, 2006’s debut The Idiots Are Winning.
Using his extensive modular synth collection to mould tripping mid-tempo sequences which sway, bobble and bounce with Holden’s typical lushness and acute sense of melody, “Triangle Folds” has a delicate but unmistakably danceable feel to it. The track is a glittering combination of analogue synths arpeggios and buzzing drum pads that tick away in their own inimitable and curious rhythm patterns. These rhythms are loose and have a live feel, typical of Holden’s trademark sound, as are the quirky time signatures. His ultra detailed approach to techno once again manifests itself here, so much so that it’s 115 bpm pace would even refrain many from even calling it techno. B-side, the “Inside Out” version is even more unconventional, slowing things down yet more and turning proceedings into a folk tinged, psychedelic tambourine Schaffel rework. Focusing on the sounds and atmospheres that surround the slowly pulsating beats, we are left with an intoxicating mix of arpeggiated bass and trickling synth lines. Both tracks show James Holden at his individual, unconventional and wonderful best. It is his ability to avoid dance music’s most tired clichés, as once again proved here, that makes James Holden the singular producer that he is.
Artist: Reboot Title: Rambon EP Label: Cadenza Genre: Minimal/Tech House Format: 12", Digital
Luciano’s Cadenza Records continues to flourish in this, its sixth year. Last month saw them launch the new digital offshoot, Cadenza Lab and now Cadenza proper reaches a significant milestone of its own, their 50th release. For this landmark release we see the burgeoning imprint return to Reboot’s Shunyata album from earlier this month to deliver this unmissable two tracker. Featuring album track “Rambon” and a Luciano remix of “Urana,” this is a real treat that cuts to the core of Cadenza’s heart.
“Rambon,” which also appeared in the later stages of Reboot’s Essential Mix at the end of last year, harks to all the spontaneity and dynamics of Reboot’s much celebrated live sets. Seemingly crafted with the art of DJing in mind, the track builds in the German’s trademark orgasmically visceral way. Based around what Reboot has termed himself, ‘a complex polyrhythmic rhythm’, the groove evolves in a masterful way, each percussive line snapping in to place perfectly. However, underneath this naturally grooving rhythm lies an undertow of strangeness garnered by a collection of everyday sounds such as the clatter of dishes, faint radio signals and pitched down murmurings. After some tightly looped vocals and subtle percussive build-ups, Reboot manages to craft a unique sense of melody, not in a traditional sense but instead wrapped in a strong hypnotism.
On the flip, Luciano reworks album opener, “Urana.” Stretching it to over ten minutes, the remix feels more like an edit with the label boss changing very little. What he does do though, is get straight into the groove rather than guiding the track gradually out of the fog as the original does. With its cautious pitter patter drums, rippling percussion, bright arpeggios and smoky feel, this is Luciano expanding on Reboot’s vibe as only he can.
Artist: Burnt Island Casuals Title: Scotch Hop Label: Under The Shade Genre: Disco/Nu-Disco Format: 12", Digital
We are used to hearing a plethora of monikers for one artist in today’s climate of edit and collaboration-friendly production where one can slip in and out of styles and genres accordingly. Burnt Island Casuals is yet another one for two producers who already operate under a number such alias’ individually. Graeme Clark, best known under his The Revenge pseudonym (but also as 6th Borough Project, Deportivo Street Team, OOFT Music, The Hong Kong Micros, Grizzle and Cronk Family Enterprises) teams up with Harri, who himself works under a host of different names, to deliver two dazzling tracks of contemporary disco meets house for Under The Shade.
The pair have worked together since 2004, most recently when Clark mastered Harri’s 20 Years Underground compilation for Glasgow’s Sub Club, for whom he is a long standing resident. This release, however, marks their most accomplished work yet. “Scotch Hop” – a play on words that no doubt had these two Scotsman giggling into their single malt – is a typically grooving, slo-mo disco builder. The duo merge disco, house, early 80s boogie and hip-hop into just under eight minutes of groove fuelled, dancing joy. Forged using a sample from Larry Levan’s mix of Gwen Guthrie’s “Hop Scotch,” the pair set off on a gradual build up that leads on to a wonderfully uplifting ending. “Truth & Temptation” on the flip, is a more upbeat offering, running at 118bpm. Again using another killer sample, this time from The Temptation’s “Ungena Za Ulimwengu (Unite the World)” Clark and Harri load the uplifting track with bags of soul and fix it to a driving disco-house rhythm to create a real dancefloor bomb. Infused with an early seventies psychedelic soul craze, much like The Revenge’s “Planets” on Jisco Music, this brings classic disco vibes to modern club music. A fruitful return from a pair who seemingly never leave the studio, “Scotch Hop” looks set to fuse BBQs, outdoor terraces and pool sides not to mention various festivals and clubs all summer long. If it was up to me, I would never let them out – but where’s the fun in that?
Check out the new video from PVT – the Australian born, London based band formerly known as Pivot – who are set to release a new album on Warp this summer.
Artist: Solvent Title: Subject to Shift Label: Ghostly International Genre: Electro House Format: 12", CD, Digital
Solvent’s fourth artist album, Subject to Shift is an aptly named record, displaying the Toronto based producer’s shift in sound for the project. Known for his hook-laden synth-pop, his latest album, the first in nearly six years, sees the producer moving into a more future acid tinged, angst-riddled place with lots of melancholy and moodiness. Delving deeper and darker than before, Jason Amm, the man behind the alias, deals with much more sombre moods and uses his beloved vocoder less than on his three previous LPs. The cute, happy and playful robots made with the pleasant buzz and hums of analogue synthesizers from his last full length, 2004’s Apples & Synthesizers are scarcely present, replaced instead with a mixture of dystopian, acid tinged futurism and bittersweet romantic ache.
Solvent’s bright synth tones are still in effect but tend to operate under new, darker conceits on this record. Tracks like “Formulate” hint at Amm’s previous dancefloor leanings but do so in a much more menacing style with a micro-disco throb and slippery vocoder lead. “Don’t Forget the Phone” wraps an arsenal of dark vocal hooks around a jaunty schaffel beat to convey the paranoia involved within a breakup whilst lead single “Loss For Words” and “Caught A Glimpse” explore Amm’s new world of technology aided melancholy. “Take Me Home” is sinister whilst “Panoramic” finishes the record off in beautiful style. There are still the kind of glistening dancefloor moments of old but unlike his previous releases, Subject to Shift is strewn together by Amm’s heartfelt vocals.
Running with an astute sense and beauty and emotional openness from start to finish, this album is arguably Solvent’s finest work to date. It is without question grander and takes the listener to a more rewarding place, but fans of his older material will still be able to appreciate some of its familiarity, whilst also admiring Amm’s artistry growth. Pulled together by live vocals and drenched in its creator’s emotions, Subject To Shift feels, despite being machine-made, wholly human.
Our latest featured chart comes courtesy of Walls, a side project of Allez Allez’s Sam Willis and Alessio Natalizia (of Banjo or Freakout fame). The two teamed up last year to throw down some tracks, the result being a wonderful little album full of fuzzy synths lost in an ambient haze, with nods to Brian Eno and krautrockers of the Neu! and Can ilk . And it seems their record bags reflect their superbly oddball taste, with some leftfield techno from Oni Ayhun and Pantha Du Prince, as well as the utterly superb Appleblim & Komonazmuk remix of Eno and Harmonia’s “By The Riverside,” released on Allez Allez’s Amazing Sounds imprint.
Artist: Beataucue Title: Cha Cha Cha Label: Kitsune Genre: Electro House Format: Digital
Steadily growing in reputation for their remixes of Brodinski and Noob’s raucous “Peanuts Club” and Two Door Cinema Club’s “Something Good Can Work” in particular, Beataucue finally drop their first EP on Kitsune, and it’s a pretty slamming collection from the French duo.
Title tune “Cha Cha Cha” plays call and response between some powerful lead synths and some wild pitch-shifted vocals, coming together to form some wild and off-the-hook builds a couple of times in the tune. “Wolves” is just as frantic – combining raved-up synths with processed vocals that get tuned so high at one point, you’d swear a swarm of bees had invaded the studio.
Daniel Haaksman does his ever-cool ‘funky meets minimal’ thing on his mix of “Cha Cha Cha,” throwing a nice range of percussion into the mix and smoothing out the abrasive elements of the original. DJ A also brings some funk to the same tune, as well as adding an epic “downward spiral” bass sound that won’t be forgotten once you’ve heard it. Willnez Gee and Sharkslayer by contrast take turns to bring even more fire out of “Wolves” on their mixes, the latter especially turned into a very punchy and powerful bass-fest capable of making the club floor cave right in. Clearly a duo with a strong future ahead, Beataucue score top marks for their debut on Kitsune.
One of the busiest men in the music biz, Sinden launched his own Grizzly imprint recently with a storming debut from the man himself, in collaboration with the ever masked SBTRKT. With the dust barely settled from that release, now we see the arrival of the Arnold Classics EP, courtesy of French new jack Brodinski. To celebrate the occasion Sinden agreed to pen a Juno Plus featured chart. Typically, he explores the breadth of the Juno Download catalogue, with classic disco and house nestling happily next to cutting edge dubstep and funky…
This month Saint Etienne re-released two seminal albums, Tiger Bay and Finisterre, showcasing the band’s unique fusion of pop, folk, indie and electronic influences to a new generation. We collared Pete Wiggs – himself a DJ of some repute – for a featured chart, and he kindly provided us with some top notch quips on why each track made his record bag.
Autechre, veterans of the UK electronica scene, today released surprise news of a new album ‘Move Of Ten’ which arrives on July 12th through Warp Records.
‘Move Of Ten’ will hopefully see the Manchester based duo contuinue the rich vein of form demonstrated on the critically acclaimed ‘Oversteps’, which was released less than six months ago.
Arriving in some frankly lush packaging courtesy of long term collaborators The Designers Republic, this collection of new sonic booms from Autechre will cater for fans of all music formats with CD digipak, two vinyl EPs and digital download available.
One of the albums tracks, Y7, can be streamed via Autechre’s website now should you want a taste of what to expect.
Plastic People will close its door for the summer, while refurbishments take place to get the club up to scratch in the eyes of the police and local council.
Artist: Efdemin Title: Chicago Label: Dial Genre: Deep House Format: 12", CD
Dial records is really on a roll these days. After recently releasing a beautiful album by Pawel and their remarkable 10 year anniversary compilation, Dial comes back at us with the long awaited second album from Efdemin, Chicago. Berlin-based Efdemin (aka Phillip Sollmann) has been associated with the Hamburg-founded label since its inception a decade ago. His self-titled debut in 2007 was a stunning affair that resonated deeply with both the house and techno communities. After three years and several singles in between, Efdemin has finally graced us once again with nine new soul-striking tracks that combine the beauty and deepness we have come to associate with Efdemin’s production.
“Cowbell” starts things off with a vocal snippet, warbled organs and slow drum rolls as a prelude to “Shoeshine” which kicks things into higher gear with its tough drums and precise high-hats. All tracks seamlessly flow into each other, a concept many artists tend to overlook when making a full length album. This overall sense of flow makes it pleasure to listen to uninterrupted in order. Instead of finely balancing the line between house and techno, Chicago has more of a jazz-induced feeling to it- which is not to say that it’s light or too refined, but rather more intriguing and textured than your standard fare of straight up deep house or deep techno.
“Night Train,” “Le Grand Voyage” and “Round Here” are three tracks fans familiar with Efdemin’s first album will certainly find their groove in. Another highlight has to be the schaffel, swing beats of “Oh My God” complete with horns and organs interspersed with dripping percussive sounds that perfectly fall into the grooves of the beat. Efdemin has definitely taken a leap forward with Chicago.
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