Artist: Kerri Chandler Title: Trionisphere Live (Digital Version) Label: King Street Sounds Genre: House Format: Digital
A perfect time to reappraise a titan of deep, jacking Stateside house, Kerri Chandler’s Trionisphere gets a full digital release from King Street Sound. A man as spiritual as he is groovy, he put Jersey on the house music map and thoroughly blesses every single song he makes with a huge amount of soul and sheer positivity. An influence on the great Todd Edwards amongst others, Trionisphere nicely collates all the tricks learned over a career that began back in ‘91.
The album was originally recorded at Tokyo’s Space Lab Yellow club in 2003, with Chandler deep in the mix using two turntables, a Final Scratch system and a DAT machine. The digital version is available in both unmixed format and as a continuous mix (which also features Kerri talking, singing and playing his Korg Trinity keyboard live over the top).
Without any pandering or over-bloated intros, “Tribe Of The Night” throws you straight into a hypnotic sweat from the get go, thanks to granite hard kicks and some spellbinding chopped accapella shots. The funk really flows at points – “Something Deeper” for example uses a laidback jazz-fusion loop as the sound bed for a furious alto sax solo, heavily played with dub delay. The same goes for “Yellow”, which keeps itself silky and chilled in a Donald Byrd vibe, while more solos are fired off around the track. There’s also more soulful, gospel-tinged house nuggets than you could possibly hope for spread over the album – “Heal My Heart” for example features Treasa Diva Fennie and intertwines vocals and strings to perfection, while “Faithful” goes out on a garage tangent with some precision hats and deep, multi-layered male vocals. “Faithful” very clearly shows Chandler’s religion spilling into his beats, as does the Rhodes-speckled “Let Him In”.
“Ye Yo Ma” shows off yet another string in Chandler’s bow, mixing up Afro-Latin rhythms and choruses around an itchy, modern funky beat. With a wide-range of percussion and some jazzy guitar, it’s one of the album’s stand-outs, as are the sharp funky snares of the tropical worker, “Coro”. With so many superb arrangements and sounds from across the spectrum of house music, this album can’t fail to impress.
Artist: Cosmin TRG Title: Liebe Suende Label: Rush Hour Genre: House Format: 12", Digital
Romania is best known for Raresh and Rhadoo’s minimalism, but there can be no doubt that Cosmin Nicolae’s music has made a great contribution to electronic music. The appeal of his music is due in no small part to the fact that it effortlessly transcends lazy genre-fication, and it can be as easily found cosying up to Klockworks-style loopyness or UK funky artists like Deadboy. Certainly, on this release for Rush Hour, Cosmin continues to do his bit to defy purists. The title track’s drums come across like a softer, more fluid take on the rhythms on Wax’s “10001″, and the woozy synths and mushy chords, possibly borrowed from a hardcore record, complete Cosmin’s irresistible attempts at retro-futuristic-crossover triangulation.
“Sores of Attraction” is less subtle, but here too it is apparent that Cosmin is using older influences to create new possibilities. In particular, the dreamy, filtered textures are reminiscent of old school rave hooks passed through 90s disco house and emerging into the contemporary landscape. This is accentuated through the use of techno claps and the dense, shuffling drum patterns that have become a centre point of dustep/techno/funky. The only question is, in his quest to map out the future, what will Cosmin turn his attention to next?
Modeselektor have released a video to promote their upcoming Modeselektions compilation, in which Gernot (one half of the duo) finds himself on a mission to secure some exotic game meat from Berlin Zoo.
In a week that a fresh bout of rumours over the impending death of the humble 1210 surfaced, record labels across the world gave us plenty of reason to keep on loving the 12″ format with some huge releases.
Artist: Various Title: International Feel Label: International Feel Genre: Disco, Leftfield Format: CD
Whilst a question mark remains over International Feel’s Uruguayan credentials, there can be no dispute that the label has enjoyed a fine year. Since their arrival on the scene with DJ Harvey releasing actual new music in the autumn of 2009, International Feel has carved a niche within the realm of contemporary discoteria for uniquely atmospheric music imbued with a real energy. Releases from Coyote, Rocha, Hungry Ghost and the aforementioned Harvey’s Locussolus project have been received in glowing terms by cryptic cosmic taste makers 20 Jazz Funk Greats, respected broadcasters like Tim Sweeney and DJing deities such as Erol Alkan.
This deluxe package compilation sourced from the Japanese market is a near perfect way to sign off 2010, collating a selection of the most prized tracks from the vinyl releases to date, generously padded out with a smattering of unreleased aural glee. The opening piano tones of Maxxi & Zeus’ “The Struggle” ease you in gently, and are further sedated by “Little Boots”, the syrupy prog rock meets slo mo chug of Harvey’s Locussolus. It’s the first exclusive track, After The Deluge’s remix of “Don’t Eat The Apricots” by Hungry Ghost, which lifts you out of the sensory slumber, thanks to the relentless pulsing disco groove, augmented by warm bass washes and plenty of dubby FX. The exclusive version of Rocha’s “Fingers Of Sand” that follows retains your interest with a bewitching combination of ethereal keys and a bubbling sense of acidic menace. Equally impressive is Coyote’s expansive and gently heated rework of International Peoples Gang’s “Second” which drowns the melody in copious amounts of dubbed frequencies.
However it is Thomas Bullock’s superlative reworking of Rocha which leaves the most lasting impression. The Welcome Stranger Creation Dub of “Feel The Love” begins with an air of tranquil fragility before gradually building towards an increasing storm of fizzing electronic drama. Bullock seemingly does his best work as Welcome Stranger and this is a stunning example.
Artist: Girl Unit Title: Wut Label: Night Slugs Genre: UK Funky/UK Garage Format: 12", Digital
It’s been rinsed on, erm, Rinse, talked about vociferously across the forums, hailed as one of the singles of the year and now it’s finally arrived in the shops. It is of course, Girl Unit’s “Wut” – the long-awaited follow up to the London based producer’s “IRL” 12”, which dropped on L Vis 1990 and Bok Bok’s Night Slugs imprint back in April.
So what of it? The title track brings uplifting trance-like synths together with swathes of hazy atmospherics and shimmering, shrieking vocals calling out the hypnotic riff. It’s reminiscent of those scenes in Human Traffic where they trip out after getting back from the club; all post-euphoria glow, hands-in-the-air bliss and warm, ecstasy induced fuzziness encapsulated into sonic form. Tipping the balance at seven minutes long, the heavy bass booms ground it in reality and jungle horns delicately placed towards the end herald the grand finale, before we move fluidly into the next track. “Every Time” is all whinnying vocals, a more recognisably dubstep rooted swinging beat and jarring stabs. The track swiftly moves from its schmoozy, reverberating intro into a more detached, explorative synth-led section, with whirring strings in full flow in the background, in manner of Rustie or Hud Mo, before ending with a chiming shimmy of xylophone sounds, lilting synthetic keys and squeaky SFX.
Finishing with the aptly named swooning “Showstoppa”, Girl Unit pulls out all the stops as we near the end of the 12”. Slushy instrumentals wade across a luscious soundscape with crushing percussion and a sinuous bassline, punctuated by urbane lyrics calling “hey!” and the blowing of a shrill whistle. The swirling pools of synths are hypnotic and drag the listener along with Rustie style digital sounds and a touch of Ikonika right to the very end. Outstanding.
Artist: Electric Fling presents Mode Title: Lo Fi Odyssey Label: Codek Genre: Disco Format: Digital
A cheeky reworking of Frankie Goes To Hollywood aside, all has been a bit quiet at Codek central of late, which is odd because there was a moment in 2010 when In Flagranti seemed to be on a remix or single release every week. The duo have clearly spent the time out of the spotlight well, grooming some new talent in the shape of East London newcomer MODE.
Presented under the same Electric Fling banner as the awesome and strangely under rated release with Rory Phillips and G & S, MODE’s debut release comes in the sprawling analogue delight of “Lo Fi Odyssey”. Set at a pace which will please the slo mo disco fans, this track astounds with the richness of sonic texture. The languid beat is wrapped in a multiplicity of melodic touches from warm piano brushes to twilight Rhodes flourishes and – like all memorable compositions – slips through several subtle rhythmic shifts across its eight minute duration.
In Flagranti themselves are the first to rework “Lo Fi Odyssey”, marrying the pensive piano touches to typically raw syncopation, with the upwards shift in pace complemented by some heavy Detroit style washes and a rough bassline for a refreshingly different sound from the duo. Opting to explore the ethereal capacities of the original, The Stallions (Lovefingers and Lee Douglas) drown the Rhodes melodies in hypnotic delay and add layers of sitar and subtle cowbell for a richly rewarding remix. Maxidisc boss and all round disco impresario Pete Herbert is on hand to steer proceedings back towards the dancefloor with a remix which is propelled by a massive arpeggiated synth bassline. This is one of those releases where everyone involved excels.
A while back we gave you the chance to remix Pendulum’s latest single, “The Island”. Well, the votes are in and the winners have been decided. Drum (and bass) roll please…
Drums Of Death recently released Generation Hexed, a musical tour de force showcasing the electrified energy that courses through the Scotsman’s veins. It was the perfect culmination of years of incessant recording, touring and makeup reapplication for the man with close ties to the Greco Roman imprint.
Indeed it’s been something of a rollercoaster ride for the man from Oban, real name Colin Bailey, who had a “one to watch” tag slapped on his forehead by all and sundry when he first emerged onto the scene. Tours with Hot Chip and Peaches and remixes of Franz Ferdinand, Alphabeat and Tricky followed, and a reputation as one of electronic music’s most individual and interesting artists was cemented. As a solo performer, he’s entrancing – both because of his highly recognisable (and pretty damn scary) stage make-up, but also because of his one-man ravecore beats that are energetically sung over, and sometimes completely shouted over.
His Juno Plus featured chart is one of the most diverse collections of music we’ve seen in this series to date, with the producer offering a fascinating insight into his musical tastes. His choices range from the melodic Japanese disco of KZA to the looped up techno throb of Robert Hood, via an old school Tresor banger and cutting edge new material from the Numbers imprint.
(Those who want to check out DoD this weekend – and let’s be honest, there’s no one else better suited to playing a Halloween gig – should check him out at this Friday’s Data Transmission party in London, where he’ll be performing live. )
Artist: San Soda Title: Immers & Daarentegen Label: We Play House Genre: Deep House, Leftfield Format: CD, Digital
Red D’s We Play House label has put itself on the map in 2010 largely thanks to a steady flow of immaculate retro house 12”s primed for club play. However, San Soda’s debut opus Immers & Daarentegen showcases musical passions and influences that reach far beyond the sweaty confines of a dancefloor.
San Soda (aka Nicolas Geysens) and WPH boss Red D (real name Bart Van Neste) became friends while playing for amateur Belgian football side FC Leiejongens, and when Geysens handed his team mate a CD containing some early demos, Van Neste was suitably enthralled to put into action previously unrealised plans to form a label: and so We Play House was born.
Immers & Daarentegen showcases the full breadth of the 23-year-old’s talent, and, like any good electronic album, there are a range of tempos and styles on offer. Opening track “Juno Love” makes slow and stately progress into “Milieutechnologie 1”, the first of a sprinkling of instrumental hip-hop interludes, while breakthrough club hit “Let’s Go” – initially recorded with Red D under their FCL moniker – sits happily alongside more melodic, introspective deep house moments.
“Kousevoetjes” betrays a fondness for smoky, late night jazz and a knack for clever sampling, while “Hypocrisy”, six tracks in, is the first offering in which a house beat truly comes to fore. “Doorsnee” is submerged deep beneath oven warm pads, clipped soul vocals and all round Detroit goodness, while the well written melodies on “Cocomo” and “Shouts In Peace” remind the listener that this is an album with a healthy mix of ‘real’ songs (in terms of arrangement and rhythm) and rough musical sketches.
The album also comes with a bonus mix by Red D containing a selection of WPH tracks past, present and future – all recorded in one take with two turntables and one CDJ. It’s a nice little bonus to a superb album, and one that points to a bright future for both label and artist.
Artist: The Glimmers Title: Whomp That Sucker Label: Gomma Genre: Disco, Electro Format: CD, Digital
It seems slightly odd that in a career that stretches back over 20 years, The Glimmers are only now making their debut proper on Gomma Recordings. In this time the Belgian duo annoyed The Rolling Stones, curated compilations for Eskimo and done mixes for Fabric and DJ Kicks, helped form electroclash and lived to tell the stories, remixed all and sundry and put out countless EPs and albums on their own Diskomo imprint and others.
So remix for Phenomenal Handclap Band aside, the duo of Mo and David make a belated appearance on Gomma with their new album Whomp That Sucker. One sitting with the nine tracks included is all you need to realise it’s been worth the wait. Recorded in conjunction with close pal Ray Mang, David & Mo Glimmers set the tone with the sprawling analogue bliss of opening track “U Rocked My World” with the low acid bass and thumping drums punctuated by a diva vocal refrain. Heavy arpeggios and inventively chaotic drum filters characterise the album’s title track, whilst the dominant bassline on “Beats In Space” are a hallmark of Ray Mang’s involvement. The accompanying press release from Gomma urges the listener to play this album loud and such advice should be followed as the raw sensation of tracks such as “Patty Cake Online” is best experienced when you can feel the sinewy bass throbbing away in your guts, your skull pounded by the turbo-charged percussion and your inner ear perplexed by the multi faceted analogue effects. Whomp That Sucker will remain an album of raw visceral unadulterated dance music which reaps rich rewards on the dancefloor for many years to come.
Artist: Chicago Damn Title: Hold On Label: Merc Genre: House Format: 12"
With little more than a recently set up blog for information, those that delight in idle speculation will be all over the true identity of Chicago Damn. Does it really matter though, when this debut on Mark E’s increasingly impressive Merc imprint proves to be such a refreshingly oddball take on post house and disco dynamics. A tribal feel engulfs your senses as “Hold On” begins, thanks to the muggy sounding chants that work in unison with the thumping bass drum beat. However it’s the multi faceted layers of melodies and instrumentation that make this track so gloriously hard to pin down. A mid point step towards shimmering balearic atmospherics before a swift u-turn into a heavily percussive locked groove is just one of the many pleasant rhythmic shifts here.
On the flip, “Be Your Man” proves to be a more instantly gratifying dancefloor treatment, seemingly melding disparate rhythmic elements to form a future retro raw house groove. Picture Pepe Bradock remixing Rick Wilhite and you might have an idea. Expert usage of vocal samples and energetic drum edits are central to a track that peaks and tweaks in all the right places. Attention Merc and Chicago Damn; more of the same please.
Artist: Peter Gordon Title: Love Of Life Orchestra Label: DFA Genre: Disco Format: CD, Digital
The DFA love for the work of Peter Gordon was first made public when James Murphy and Pat Mahoney chose to open and close their Fabric:Live mix with the deliciousness of “Beginning of the Heartbreak” and “Don’t Don’t”. That love is expanded on fully with this brilliant retrospective of the avant garde musician’s career as a producer and figurehead of the Love of Life Orchestra. The aforementioned two tracks open this album and still amaze with the sheer magnitude of production values, though the swift changeup between tracks will always annoy!
From here, your senses are treated to a dizzying array of vintage disco sounds from the era’s prime. Especially delightful are “Still You” and “Beautiful Dreamer”, the tracks Gordon produced with visual artist Collette as Justine & The Victorian Punks. Ethereal and multi layered discoid arrangements and impossibly sweet vocal melodies combine to hypnotic effect on both tracks. Elsewhere “Iago’s Escape” contains the sort of abstract arrangements you’d expect from a producer who worked with Arthur Russell whilst “Extended Niceties” contains a joyous exchange between sax and synths. This is one of those albums you sink right in to and come out the other side with a nagging sensation to find out more.
Artist: Peverelist & Hyetal Title: The Hum Label: Punch Drunk Genre: Dubstep Format: 12", Digital
The output from Bristol (second home of dubstep, lest we forget) has been particularly impressive of late. There’s been Pinch’s “Boxer”, Gudio’s debut artist album Anidea and some great stuff from Komonazmuk, Appleblim and the Soul Motive camp. Amongst those leading the way, however, is Peverelist, aka Tom Ford, whose meticulous approach in everything from production to label management to A&R has meant he has become one of the key figures in Bristol’s dubstep scene and beyond. As the owner of Punch Drunk imprint he has been responsible for putting out records from the likes of Guido, RSD, Pinch, Shortstuff and Hyetal. This 12” sees the label boss teaming up with Hyetal, whose previous productions “Phoenix” and “Pixel Rainbow Sequence” have garnered huge attention from across the bass music fraternity.
Kicking off with “The Hum”, the contrast of the deep, murmuring hum of the b-line, percussive hiss and twinkling, dancing synthetic skittering of the melody is immediately striking. After a moment of doubt, where the two layers of sound are distinctly separate, it seems they accept their differences and move along in unison thereafter. The pattering drums and rippling swathes of synths which bathe the beats become more and more prominent as the track progresses. The influences and echoes are many, but it is hard to put your finger on exactly what each part reminds you of why, suffice to say that the sound is very much of that elusive “Bristol Sound”.
On the flip, “Rrrr” compliments its A-Side counterpart with a rather different flavour, but equally as impressive in terms of sonic quality. A bewildering intro paves the way for a more sparse, stripped back and intensely meditative piece. A swirling synth dies out to expose a creaky sound repeated with hollow, loping beat and gentle onomatopeiac rustlings embedded into the very fabric of the track. Textures are muffled and withdrawn, with intriguing whirring moments, rattling elements, neat blurs and bleepy arpeggios towards the end. It’s a contemplative venture all round here from Peverelist & Hyetal – hats off!
With the news that revered Scottish label Soma is on the verge of releasing a new compilation, we thought it was only fair to give label chiefs Slam pride of place in the latest Juno minimal podcast.
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