SECURE SHOPPING
The Faze Action team continues to sit proudly atop the Juno Download disco podcast league table, invented by us this very moment. As it stands: 16 podcasts, 16 wins, 0 draws, 0 losses.
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18-year old Numan Khan is the latest artist to join the electronic elite on Mike Paradinas’ Planet Mu imprint. Bringing forth an excellent four track EP that combines dubstep and grime influences, rearranging them into an altogether new and unexplored formula, the Race Against Time EP will no doubt provide another signpost on the metamorphosing post-dubstep map. With previous releases on Wicky Lindows (7th Key) and Slit Jockey (Skull Crusher) as well his first extended play (The Secrets EP) on Subdepth late last year, this is the first high profile platform the Mancunian producer has been given to really go to town with his unique and intriguing signature sound. Championed by the likes of Mary Anne Hobbs, Starkey and Oneman, he has been hailed as “one to watch” for 2010. Well, all eyes are on Numan now as he steps forth with a Race Against Time.
A cooing, bleeping alarm clock style melody measures the passing moments and marks the start of the title track with imposing resonance. A jaunty accordion brings a whimsical, Rustie-like element to proceedings before ripples of piano keys flow out with undulating aplomb. Numan uses the delicate melodies which flow in and out of the track to create a sense of exploration – something which is continued throughout the EP’s intriguing excursion into Numan’s inner sound. “Photograph”, up next, introduces a more contemplative note of transcendental blues with misty atmospheric sweeps, reflective drones and clicking shutter snapping beats paying homage to the title, much like the alarm clock in “Race Against Time”. Its delicacy swiftly becomes the source of its beauty and really marks it out as a stand out track on the EP, albeit in a different tone to the two tracks bookending it.
“Voodoo” shifts to a more tribal rhythm, with hollow, combing SFX and an upbeat, rousing high-pitched synthetic violin pushing things along in a frenzied jig. Intermittent wails add to the “voodoo” sensibility, along with a bellowing b-line which grows more and more threatening as the track progresses. Moving towards the final passages of the EP, the cryptically named “XX” is one of the cuts that will get tongues wagging as Numan brings his grime influences to the fore, with chirruping circus riffs rather reminiscent of Ikonika at times, some squelchy low end, triangle chimes and delectable appeal. A landmark EP for the young producer – expect to hear a lot more from Numan in the near future.
Belinda Rowse
“My Rescue”, the new single from Juno Plus favourites Canyons, now has its own video featuring a frankly scary looking warrior going to town on an opposing tribe.
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Morgan Packard returns with the follow up to his acclaimed Airships Fill The Sky with Moment Again Elsewhere, an album of rich home-listening electronica. Mixing his adeptness for rhythm and gently churning basslines, with the use of saxophone, piano, and accordion, Packard has crafted another album of quiet yet beat-driven music that one can put on and get lost in.
Using a software program of his own design called Ripple, Packard creates a wash of subtle ambient moodscapes that sound just as organic as they do digital and the effect is captivating. Tracks like “Insist”, “Window”, and “Although” pulsate slowly and steadily and are accented with clicks, cuts, and sonic whirrs. The longest track on the album, “Moment” sits comfortably in between the work of Andreas Tilliander and Shuttle358 – it hints at dub and jazz-inflected rhythms and is arguably the album’s best track.
Moment Again Elsewhere is really an album that needs to be listened to in its entirety. There is no stand out track per se, but Packard is skilled at establishing mood, and as the album plays out, one feels a sense of digitized calm wash over them and swirl about the room. Fans of Taylor Deupree, Ezekiel Honig, Shuttle358, and Andreas Tilliander should check this out. It is one worthy of repeat listens and an excellent addition into the ever growing canon of electronic music for the home listener.
Matt Leslie
Fledgling Parisian imprint Abracada are bringing their label roster over to London for a party at XOYO and we have two pairs of tickets to give away.
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To date Delia & Gavin’s “Track #5” has only appeared in a criminally short burst of some three minutes towards the end of the Goldsworthy and Sweeney mixed DFA Holiday Mix 2005. Culled from the mind bogglingly good Delia & Gavin album The Days Of Mars for it’s supposed incongruous sound, “Track #5” has remained a frustratingly unavailable curio for Delia & Gavin completists. Hooray to James Murphy and the other DFA decision makers for finally unveiling the track in all its ten minutes of soporific glory.
With Russom knee deep in his increasingly psychedelic Crystal Ark project as well as delivering a continually dizzying array of stellar remixes – including a forthcoming mind melter for Populette – it’s been purported this is potentially the last time we’ll see the contemporary wizard on a release with Gonzales. If that’s the case it’s fitting that the duo appears to be sauntering towards the light on the cover. Further delight can be gleaned on the opposing side where German duo Âme transforms the track into a relentlessly throbbing piece of house music that deserves to be played loud late at night in dark basement venues across the globe. The addition of this truly breathtaking dancefloor reimagination means this is a fine final chapter to an all too brief but excellent partnership.
Tony Poland
Legendary British duo Fabio & Grooverider have curated the latest Masterpiece compilation for Ministry Of Sound.
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UK disco royalty Faze Action are back. For the fifteenth release on their own imprint, they’ve searched the globe for producers to remix tracks from last year’s well received album Stratus Energy. Kicking off in the tropical climes of, erm, Glasgow, The Revenge comes through with a druggy deep house refix of “I Wanna Dancer” replete with one of the best basslines Mr Clark has produced to date. This element is expanded on superbly in the accompanying dub version that bumps that little bit harder. From here, we are introduced to some rising talent from opposite ends of the globe, as Sao Paolo duo Boogie Central remix “Danae’s Journey” and treat your senses to a glistening contemporary disco classic. Vintage elements such as the hugging bassline and sweet vocal harmonies dovetail nicely with the crisp drum programming and key shimmers. Finally Muscovite TARAS 3000 engages light speed for a suitably cosmic sounding refix of “Starship”, which is built around an increasingly euphoric piano melody.
Tony Poland
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Who do you pick to mix the next instalment in your series when the last effort was one of the finest compilations of 2010 so far (dOP, remember?) You play it safe by calling in tried and tested, Essex born Berlin based club resident, Lee Jones. Even if you don’t know the name immediately, it’s likely you’ll have heard one of his essential productions as part of now disbanded duo MyMy. If you haven’t, though, there’s no need to worry… you’re in good hands.
There’s a slickness and clarity to this mix which perfectly suits the future disco that is the Watergate club itself, but with injections of real musicality all throughout things never become as perfect and digitalised as to blend pleasantly into the background. The pace is unhurried but not pedestrian; the emotions are sweet and dreamy but remain anchored to a network of multifarious, micro-pulsing beats and, overall, Watergate 07 is the sort of soundtrack which ably transports you from the dark dead of night to the early light of morning with a compassionate charm.
At first it may seem noodly, but the fluid lines and subtle progressions here are what keep you coming back for more. That and gentle freak-outs like “Voice Scatter”, tear jerking piano moments like “Melancholie II (Lee Jones Watergate Remix)”, multi-layered organic rollers like “YoYo” or the loose, suspended tension of minimal patters like “December”. Thread together as sensitively as they are, these records make for a mix which wears its heart on its sleeve: it’s beguiling but delicate and commanding yet tender.
Kristan Caryl
Next week marks one of the dance music industry’s biggest nosh ups in the shape of Amsterdam Dance Event, and we’ve got two pairs of tickets to give away to a rather epic looking party at Trouw featuring Joris Voorn, Elektro Guzzi, Ewan Pearson and Craig Richards.
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It would not be an exaggeration to say that 2010 has been Jonas Kopp and Stroboscopic Artefacts’ year. In the case of the Argentinean producer, the inclusion of his “Michigan Lake” track on Ben Klock’s mix for Ostgut/Berghain raised his profile internationally, while the Berlin-based label, which was launched just a year ago, has been at the forefront of the compressed dub sound, releasing music by Pfirter, Xhin and label owner Lucy. Certainly, this release will not harm either party’s reputation. Kopp’s “Alkitran” is a peak time techno track, its heavy beats and slamming rhythms inspired by 90s hard techno acts like The Advent. When, at three minutes, Kopp finally lets loose with the cold percussive claps, ‘Alkitran’ moves up a notch in the intensity stakes without losing its sense of groove.
Suckut’s “Vary” on the other hand is typical of the Stroboscopic sound: layered and textured, its filters and heavy snares nonetheless mean that while its arrangement is dense, it is not shy of the dancefloor. Lucy also offers a version of each track. The label owner’s take on “Vary” is much straighter and more stripped back; its use of filtered riffs and dubbed out drums provide a highly effective DJ tool for the first part but after breaking down mid-way through, offers an experimental sound tapestry on the second part. This offbeat approach is also evident throughout Lucy’s take on “Alkitran”, with churning chords underpinned by a clanging, abstract rhythm. It’s exactly this kind of adventurous approach that has made Lucy’s label such an intriguing outlet.
Richard Brophy
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Taken form Hendrik Weber’s acclaimed second album, Black Noise, “Lay in a Shimmer” continues the German producer’s transformation from deep techno player to indie/IDM champion. Eschewing the dance floor, “Shimmer” is based on a abstract, glitchy framework, with splintered percussive elements complimented by warbling electronic hooks – the kind that Boards of Canada used to excel at – and cloaked in dreamy textures. There are hints of the introspective qualities that his earlier releases for Dial had in spades, but also Seefeel’s love of layering. “Summerstrum” is more detached from Weber’s techno roots: granted, there are glitchy percussive licks again, but at the track’s heart is a jangling, breathless melody that floats in the air like fireflies at sunset.
The ‘Fata Morgana’ version of “Shimmer” accentuates the fragile hooks, and the cacophony of skewed, twisted percussion that accompany the succession of melodic surges suggests this version is also destined to remain a home listening treat. However, midway through, it surprises by veering into clipped 4/4 beats. “Ursonate 3″ doesn’t offer such surprises: from the outset Weber sets his sights on creating a straightforward dance floor techno track. This he does adeptly with the help of loose, wayward drums and a resonating, throbbing bassline, but without losing the otherworldly sensibility that is a common theme on his productions.
Richard Brophy
There’s been some debate in the Juno Plus office this week about the correct pronunciation of Will Saul’s AUS imprint, with certain individuals opting for something akin to the common nickname for Australians, whilst others believe it’s simply uttered ‘haus’.
Spearhead gaffer BCee returns with the 10th installment of the Juno drum and bass podcast, featuring a sprinkling of his musical highlights for October.
Glaswegian duo Optimo are set to release an album featuring talented young – and we mean young – musicians covering the likes of ESG, Iggy & The Stooges and the Kingsmen.
In the space of just four years Munich imprint Permanent Vacation have hustled their way to the front of the queue marked ‘labels Juno Plus loves’ and generally challenged DFA for first place in our collective affections.
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Japanese producer Hirofumi Goto aka Rondenion follows up releases on Rush Hour, Aesthetic Audio and Still Music with more dope jams on Bosconi’s Extra Virgin sub-label. Goto opens with his own homage to slow-mo house, although Juno Plus eyebrows were initially raised when we clocked the BPM at a glacial 86. The thing is, it really works: too often slow house tracks simply sound like a 120 BPM tune pitched way down – but Rondenion inserts a killer groove on “Beginning of the Ring” that is actually sounds perfect as it is, blending a hip-hop tempo with clever sampling, while the heavy string work gives the track a vintage disco sheen.
Rondenion’s renowned MPC loving soul and disco-sampling style is also on full display for B Side track “In One’s Mind”, which could quite easily be Raw Cut #7. Goto’s preference for recording in the true spirit of Chicago house – live instrumentation, one take – keeps things generally uncluttered, allowing a relatively simple but inherently funky groove to prevail throughout. The insouciant piano melody, shuffling hi-hats and uptempo beat on EP closer “Like A Child” mark it out as the most dancefloor friendly cut on this little gem of an EP.
Aaron Coultate
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Not content with releasing one of this year’s most captivating albums in A Sufi & A Killer, Warp enlist a veritable trove of production deities to add some new weight to the distinctive vocals of LA yoga teacher turned mystical sonic wizard Gonjasufi. Amidst a sea of praise and applause for Gonjasufi’s debut album, the only real complaint was a sense of unease at Gaslamp Killer’s production credits for a wholesale plundering of samples and breaks. A problem which is more or less remedied on The Caliph’s Tea Party - furthermore there are some truly stunning reinterpretations within. Commencing with the ambient Morricone hues of Mark Pritchard’s “Ancestors” remix, what really impresses is Warp’s decision to call in rising production talent like Dam Mantle and Dem Hunger. Indeed it’s the former who excels on a remix of “Ageing” that dices up the vocals over pulsing bass led half step stutter that burst with soul when the organ riffs drop. Elsewhere Bear In Heaven go all Axelrod on the ripping remix of Love of Reign and Oneohtrix Point Never delivers the highlight with a stunningly beautiful rendition of “She’s Gone”.
Tony Poland
The big boys of European house music come out to play this week, with new joints from the mighty Innervisions, Rush Hour and Running Back forming the backbone to the 41st Juno deep house podcast.
