SECURE SHOPPING
The latest Hotflush release signals the beginning of another superlative roundup of the latest music that veers in and around the genre of dubstep – watch out for the new Joe on hessle Audio!
Good News For London Nightlife! Industry reports today suggest that Farringdon clubbing behemoth Fabric has been swept out of adminstration, with a new company that has close ties with the previous managment and ownership taking control of the majority of assets.
Nathan Fake and Four Tet, viewed by many as the forefront of UK electronic music will be both provide remixes of Jon Hopkins on a forthcoming and imaginatively titled Remixes EP.
My Cousin Roy aka Roy Dank has been overseeing the rise of Wurst since 2006. Originally an imprint that stood for some classy re/edits of obscure late 70s/early 80s disco and electronica from the likes of Runaway, Eamon Harkin, and Dank himself, Wurst themselves which got support across the board with everyone from Carl Craig to Erol Alkan dropping some prime Wurst in their sets.
The imprint chamged direction in 2009, resurfacing as The Wurst Music Co. and focusing instead on original material with releases to date from Brennan Green, Reade Truth and The Neurotic Drum Band. This week sees the latest Wurst release drop in the form of the splendid ‘It’s Now’ from Great Weekend, so to celebrate we coaxed a current top ten out of Mr Roy Dank.
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Next month sees the first release on Compost Disco, a new sub label from legendary Munich imprint Compost with the focus squarely on the campier Italo tinged end of the disco spectrum.
Belgian duo Aeroplane have announced details of a shock but seemingly very amicable split with main musical man Vito De Luca contuining under the name and production partner Stephen Fasano departing to do his own thing.
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With Ninja Tune swiftly approaching their 20th anniversary as an independent label (no mean feat in today’s climate) it’s reassuring that the imprint is still refusing to compromise on the sonic principles that the Coldcut duo of Matt Black and Jon More founded it on. This much is evident in 1 Inch & ½ Mile, the debut album from South coast duo Grasscut
Consisting of Andrew Phillips, an award winning film composer, and Marcus 0’Dair, double bassist and keyboard player, Grasscut’s music is formed from stockpiled field recordings and recycled 78s and snatches of illicit conversations recorded on mobile phones edited and reworked into the tapestry of their musical compositions.
The outcome is a bewitching combination of twisting psychedelia, stuttering clicks and cuts, ambient soundscapes and downbeat pop. Album opener ‘High Down’ sucks you as soon as the woozy haze of kaleidoscopic noise explodes. From then on you are treated to the bouncing melodic electronica of tracks like ‘Old Machines’ where a fractured drum break contrasts brilliantly with the classical string arrangements. The sound of American property developers in deep discussion that signals the end of the track amply demonstrates Phillips self confessed snooping audio freak role.
This is expanded on further with ‘Muppet’ where Phillips illicit recording of two friends’ gossiping is subjected to some abrasive sonic grafts and swamped in uneasy pop rhythms that descend into self destruction. Even his mother appears on ‘1946’, providing an unassuming monologue about her post war memories against a soft back drop of metallic percussion as a string trio rises and takes over in the mid section
It’s on haunting compositions such as the above and ‘The Tin Man’ where Grasscut truly shine. The latter provides the album high light with the sampled squeak of the Pompidou centre providing a spectral melody upon which layers of piano and strings gently play out before the sound of Count John McCormack’s unique voice signals an onset of crashing percussion.
In the true tradition of Ninja Tune releases, 1 Inch & ½ Mile is best listened to in the comfort of headphones, where you can escape the mundane and fully enjoy the transcendental journey that unfolds.
Reviewer: Tony Poland
The lover, fighter, time traveller, designer and sex obsessed producer known as Jimmy Edgar releases his new single ‘Hot Raw Sex’ on Monday 21st June via the !K7 imprint and you can win tickets to see him live at Fabric.
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Exciting times in Brixton as new label New Finger drops its very first release. To launch the imprint, the south Londoners chose Marcus Marr, who although is delivering a debut release of his own, is no new comer to the scene. As a songwriter, producer and multi-instrumentalist, Marr has had a long musical background featuring as one half of the Fanglers (Cynic Records) whilst also having featured on Felix Dickinson and Toby Tobias’ alias The Mythical Beasts’ track, “The Magical Creature.”
He has also spent time as a session player, working with the likes of Felix Dickinson, Horse Meat Disco, the Idjut Boys and Black Cock. Both himself and New Finger are set for big things in 2010 as “Well Alright” gets them off to a flyer with a killer debut and double A Side of bassy, floaty synth-pop meets nu disco.
Up first is the title track, a feel good summer tune that merges funk, disco, rock and house into one delightful cut. It is funkoid nu disco at its very best mixed with a gut-pounding, disco rock feel. A thumping kick drives forward beneath a swirling mesh of funky guitar licks, tight slap bass, soulful keys and vintage vocals. One to get dancefloors moving, this will shake asses from Brixton to New York.
“Pleasure Moon” is dubbier and deeper, sinking into an irresistible cosmic groove that builds and builds with an almost laidback attitude. The acid bassline is simply gorgeous, and when mixed with the dreamy, ethereal Donna Summer-esque vocals from space-siren Helena Ward, creates the kind of atmosphere that was previously thought to have only existed in a 1970s new year party in outer space.
A fantastic debut for both artist and label, the combination delivers on all counts. Keep an eye out for both throughout 2010!
Reviewer: Tom Jones
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Percussion, rhythms and intricate polyrhythms have always laid down the foundations of Reboot’s music ever since he first arrived on the scene three years ago. Since that debut, “Be Tougher / Letters” from back in 2007 on Luciano’s Cadenza imprint, the talented German has made a fast and steep rise to becoming one of dance music’s hottest properties. He has seen single and EP releases on Cocoon, Below, Love Letters from Oslo, Motivbank, Below and Ricardo Villalobos’ Sei Es Drum imprint in addition to highly acclaimed mix CDs for Cocoon and Cécille. Shunyata, his first ever LP marks his return to Cadenza and keeps his ever flowing, tribal polyrhythms at the centre of its sound.
Its title is loosely translated from its Buddhist origins as ‘emptiness’ which is not used here in a negative sense but as a reference to the album’s state of impermanence and constant state of flux. Utilising the album format, Reboot manages to make the individual tracks start at one point and lead to somewhere completely different, keeping the entire record moving in a constant and kaleidoscopic motion.
He builds these spiralling grooves or intricate polyrhythms by interconnecting instruments such as congas, bells, cymbals, woodblocks, shakers, steely drums and aluminium barrels, binding them together to weave an evolving groove. Added to that, stranger sound elements such as field recordings, cut up, distorted vocals, pings and gurgles permeate the percussion layers whilst a spongy bed of compressed bass fills the low end.
The focus is once more on the dancefloor as tracks like the peaktime “Hermano,” the deepness of “Dreliach” the hypnotic “Me Show,” and the darker vibes of “Save Me” all play testament to. However, there are also some more unexpected moments such as the skipping and melodic “Rambon,” the spiralling “Down Pantha,” the sedate opener “Uruana” and the sampled guitar that appears on “Sanchez Says.” It’s very structural nature makes Shunyata an album in the true sense of the word, demanding full and repeat listens to fully appreciate its beauty.
Reviewer: Tom Jones
Besides running Canadian label Wagon Repair with fellow producers like Konrad Black, Mathew Jonson has been known for being unrestricted by the boundaries of genres, fusing elements from techno and house to jazz. Last year saw the release of his album Ghosts in the AI on his own label alongside the likes of Hrdvsion, Minilogue and Seth Troxler’s ingenious alias Sex Throthler, and just after his set at Fabric with Parisian DJ Chloe and Ewan Pearson, Flora Wong spoke to the man himself about his summer plans, possible collaborations with Cassy and what’s in store for the future…
The Juno Minimal podcast eeks towards it’s 40th birthday with a selection that includes Martyn’ s contribution to Ben Klock’s Berghain mix, some Villalobos from the latest Cocoon compilation and Mount Kimbie’s ‘William’ being remixed by Prosumer and Tama Sumo on the always essential Hot Flush.
It’s just been annnounced that Rinse FM, the long running pirate radio station that has played an integral part in the rise of underground sounds such as dubstep, grime and UK Funky, has finally been awarded a FM radio licence.
The splendid cold wave synth industrial sludge disco imprint ThisIsNotAnExit Recordings will release a summer sampler later this month and have announced details of an interesting project to see it released as a highly limited 12″ via the Pledge Music charity iniatiative.
Sandwell District – Where Next? (Sampler Part Two) review
by Juno Plus on 16.06.2010 at 10:57am
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Here lies the second and final sampler from the Sandwell District collective ahead of an album slated for some time soon (sorry the very nature of mysterious techno labels means we can’t be any clearer than that). This 12” – which looks splendid in clear blue vinyl – kicks off with an untitled effort from Silent Servant aka Juan Mendez, who apart from being one of the label’s production stalwarts also takes care of the artwork. It’s fascinating, moody stuff, with a ghostly hiss hiding behind a relatively unobtrusive bassline, which allows the abrasive synth melody to come to the fore. The a-side then closes with a short, but richly textured ambient piece from Female (aka Peter Sutton).
Flip over and you’ll find another effort from Silent Servant, this time with a truly subterranean kick drum, frantic shuffling high-hats, radar bleeps and the odd spooky sweep. To close, Regis (known to the HMRC as Karl O’Connor) lends his hand to some Female steppy business. O’Connor’s recent output has shown a tendency to lean towards to more dubstep/techno crossover, a slight but noticeable departure from a history of purist techno output. And then it’s all over. Thankfully there’s more than enough meat on the bones of these two samplers to keep you occupied until the SD album finally drops. Still, here’s hoping we don’t have to wait too long.
Review: Aaron Coultate
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Danish minimalist Martinez is already an integral part of Leipzig’s Moon Harbour imprint. Having already released three EPs for the label, including his 2008 debut, “Momomowha” and recent hit, “Cheesecake,” the talented producer has become an important label ambassador at live dates across the world. Added to that is his co-production with label boss, Matthias Tanzmann and the picture is very clear – Martinez has established himself as a vital artist on the Moon Harbour roster. Now, he delivers his first LP for the imprint, his third album overall.
The aptly titled Paradigm Shift sees Martinez assimilate an abundance of deep house references into his usual palette of minimal and techno. Adding to his passion for deep Chicago house, he mixes the record up with influences of techno, breakbeat and dubby downtempo as heavy percussive rhythms lay throughout. This diversity gives the record a more human feeling than either of his two previous albums. It deftly balances the disciples of home listening and club oriented rhythms whilst detracting from neither style. Combining strong elements of dance production with jazzy chords, swung percussion and re-arranged vocal snippets, the record has a vintage sheen but with all the thrilling trappings of a cutting-edge, modern day production. What is truly amazing about The Paradigm shift though is that he manages to amalgamate all these conflicting influences into an album that maintains such an organic feel throughout. Alongside lush moments of deepness such as the inimitable “Lavender Mist” and polished “Maresias,” Martinez treats us to the warm and contented sounds of “Gourmet.” Intertwining the record with bursts of funk laden electronics, such as “Solaris,” “Kamino” and “Mr Decocco,” Martinez is also explosive at all the right times. “Damaged Color” with its slinky, dirty, low bass and the driving beat of “Williamsburg” both point to a more club focused angle, giving the record yet more amiable balance.
Review: Tom Jones
The revered Sub:stance party will celebrate its second birthday in style with a takeover of its Berlin HQ, Berghain.
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With Juno Records hitting its tenth release we revisit yet another classic from the archives of electronic music royalty. Producer, label boss, DJ & remixer extraordinaire Charles Webster will need no introduction to house music lovers, and it’s his 1998 collaboration with renowned UK vocalist Shara Nelson which gets a 2010 touch up. Orignally out on the seminal label Pagan, “Sense of Danger” was a real deep house anthem back in 1998, so it was imperative to leave it in good hands for remix duties. The Popular People’s Front, the disco house supergroup made up of anonymous musical activists are just that. PPF breath new life into “Sense of Danger”, with Nelson’s vocal being matched by an effervescent dubby groove. An alternate Dangerous Dub gives the track a darker but equally melodic feel with an abrasive bassline central to the groove.
Meanwhile Stuttgart’s most famous son, Motor City Drum Ensemble steps up with two contrasting but equally excellent remixes. The ‘Other Thing Dub’ revisits the Raw Cuts sound that MCDE is famous for – Nelson’s vocal expertly chopped up over organic piano grooves and a chugging beat. The second vocal mix stays truer to the tough beats and metallic synths of Webster’s original, a real Chicago feel provided by the ebullient hats and dubby bass line.
Review: Tony Poland
Following on from Eddie Richard’s guest mix the Faze Action brothers return to the helm for our 12th disco podcast instalment.
