It’s apt that Skudge have called their debut album Phantom, as the mysterious Swedish duo seems to share the same characteristics as a supernatural being. Appearing out of nowhere at the end of 2009, Skudge’s detailed, locked-on house and techno was itself littered with references and influences from other genres, most notably Basic Channel’s dubby sound and the unflinching loopy rhythms of 90s techno, reinterpreted through the prism of dense, slower Berghain tempos. Skudge focus on roughly the same approach for their debut album, and, although book-ended by the sensuous chords and eerie ambience of “Ursa Major” and “Modular Storm”, the album is the most rounded demonstration yet of the duo’s ability to create precision-strike dance floor techno.
“Real Time”, for example, is classic Skudge, with dubby chords riding a filter sweeping across dense drums. “In Between” is deeper than their wont, but still powered by robust drum patterns, while a similar approach is audible on “Eleven”, where sweet chords and bleepy effects are underpinned by tough kicks. These subtle nods to classic sources are most audible on the title track, where Basic Channel scuffled riffs are combined with a moody bass straight out of the Underground Resistance/Rolando armoury. However, equally interesting results occur when Skudge pursue a more aggressive approach: the snappy percussion of “Sandblast” is encased in a metallic shell, “Downtown” reaches a tumultuous climax to the sound of doubled up claps and jarring riffs, and “Pressure Drop” and “Shivers” are rough, distorted workouts that suggest evil spirits may be inhabiting Skudge’s machines. Irrespective of what’s driving it, there is no doubt that this is a supernaturally good album.
This week marks the entry of Lone – real name Matt Cutler – into the R&S hall of fame. He’s the latest in a growing line of young British producers to release on the venerable Belgian imprint in its second incarnation, and the six-track Ehoclocations EP continues where the producer left off on 2010’s excellent mini-album Emerald Fantasy Tracks, and before that, “Pineapple Crush”.
The EP sees Lone’s gaze drift towards 90s Detroit and Chicago, though the distinctive melodic stabs that characterised EFT remain – something that’s apparent as soon as the huge drop in “Coreshine Voodoo” arrives. Elsewhere “Dolphin” delights via the vast swathes of melodies that wash over the intricate layers of percussion that build and drop with expertise whilst “Approaching Rainbow” is perhaps Lone at his most rhythmically rigid, with mellow bursts of colour and texture arising from the rasping Strafe-esque drums. It’s all quite enchanting.
To celebrate the release we contacted Lone – who was proudly sporting an Aphex Twin t-shirt during his performance at last month’s Bloc festival – and asked him to list his five favourite R&S releases of all time. Unsurprisingly the work of Richard D James features, as does the Golden Girls classic “Kinetic”, which Cutler recently remixed, alongside some old school techno and IDM.
Has it really been twelve years since the the launch of the first Korg Kaoss Pad? Many of us will remember strolling down to our local outlet and touching that early XY pad as if it was some kind of long lost treasure, awe-inspired by the effect that our mortal hands had on the incoming audio signal.
A host of new names were today added to the already bulging line-up for Sónar 2011, with LCD Soundsystem frontman James Murphy joined by the likes of Four Tet, Martyn and Lucy (pictured above).
Chicago based duo Gatekeeper will embark on their first European tour this May, with live performances scheduled for London, Amsterdam, Paris and Glasgow.
Artist: Bibio Title: Mind Bokeh Label: Warp Records Genre: Leftfield, Electronica Format: 2xLP, CD, Digital
When Ambivalence Avenue came out in 2009, it was the birth of Bibio 2.0 – an artist finally stepping out of the BoC meets folktronica shadow that both propelled and pigeonholed his sound. Ambivalence was exciting, fresh, and a solid leap forward for UK producer Steven Wilkinson. Now, Wilkinson has returned, hot off the heels of his lauded breakthrough album on Warp, with Mind Bokeh. The new long player carries much the same tone as Ambivalence – combining playful vintage melodies and summer-fuelled beats – but it also sees him venturing even further out of his folky-comfort zone and pushing into new sonic territory. Wilkinson’s vocals are more prominent in the mix this time around, and with “Take Off Your Shirt” he even tries his hand at Phoenix-style pop, using a chunky riff and cheesy lyrics with the hopes of creating a summer banger. It’s jarring at first, but becomes more palatable after repeat listens. “K for Kelson”, on the other hand, is more of a winner, seeing Wilkinson try his ear at tropical robot pop, crafting an infectious poolside hit.
Other tracks see him revisiting the styles that became his trademark on Ambivalence Avenue. “Light Sleep” for example works the funk vibe in similar fashion to “Jealous of Roses”, and “More Excuses” sounds like an extension to “All the Flowers”. Album highlights are “Artists’ Valley”, which works a crunchy Fly Lo beat and a smooth bass line outro, that’s perfect for bobbing your head during more chilled out moments. The title track is a wandering blurry soundscape, reminiscent of BoC, and closer “Saint Christopher” may indeed be the album’s best track, featuring a light 4/4 beat and high-hat shuffle driving three interweaving guitar lines for six beautiful minutes. It’s a great outro to the album and perhaps a sign of even further sonic evolutions. The term ‘bokeh’ comes from the Japanese and has to do with staring at the out of focus areas in a photographic image; Wilkinson attempts to do this with your ears and mind, and for the most part, he succeeds. With Mind Bokeh we see Wilkinson reworking the best moments of Ambivalence Avenue and trying out a few new styles as well. It’s not a full leap forward – but it’s arresting nonetheless. Let’s call it Bibio 2.5.
Dutch producer Martyn has compiled an excellent mixtape for online fashionistas oki-ni that effortlessly draws a line between Miles Davis, Carl Craig, Caribou and more.
Artist: Move D Title: Hydrophonics Label: Uzuri Recordings Genre: Deep house Format: 12", Digital
David Moufang has long been one of electronic music’s most underrated producers. Over the years, he’s released on such acclaimed imprints as Warp, Philpot, Compost, Workshop, Modern Love and Shanti, run his own acclaimed label (Source Records, not to be confused with the French label of the same name) and happily skipped between raw techno, jackin’ acid, minimal grooves and high grade deep house, never once putting a foot wrong. It’s some record.
The Hydrophonics EP sees him in typically fine form, laying down another intoxicating blend of deep house moods. As you’d perhaps expect from someone of Moufang’s experience, all three tracks are immaculately produced, with sophisticated use of melody and little compromise to the rules of deep house. Make no mistake, this is house music for the heads – and all the better for it.
The EP opens with “Your Personal Healer”, a loose and languid composition that lazily ebbs and flows from the speakers like a mountain stream. There are pianos, a whisper of guitar (collaborator JuJu providing the licks), reverb-laden vocal snippets and beats that manage to sound spacious despite their rhythmic density. “Things Will Come” is a short exercise in glitchy, off-key deepness; unassuming but quietly impressive, like the best of Moufang’s work. You feel like you’re squinting towards the light whilst listening, as if emerging into the weak morning sunshine after a particularly heavy night out.
Then there’s “Sur Beateau Avec Eric”, an underwater exploration of half-heard deep house beauty that boasts both naggingly weighty low-end wobbles and heavenly melodies that appear to have been beamed down from the furthest reaches of the cosmos. Throw in some whispered sweet nothings from Eric D Clark, and you have some next-level late night business. As usual, the heads will rejoice at Moufang’s mastery. It’s about time everyone else found out what they’re missing out on.
Whilst Monday’s suggestion of retiring to the nearest park shaped area with a portable turntable, some laptops and refreshing beverages to cover the weekly Juno Plus editorial duties seems to have fallen on deaf ears, some consolation was found in getting to listen to so many great new releases.
London types James Priestly and Giles Smith will celebrate 10 years of secretsundaze by re-launching the record label wing of their empire, kicking off with a 12″ from Parisian house producer Brawther.
Artist: Todd Terje Title: Ragysh Label: Running Back Genre: Disco, House Format: 12", Digital
Those who’ve been watching Terje Olsen’s progress over the last decade may have become frustrated at the lack of original material from the Norwegian disco don. Since debuting in 2004 with the brilliant “Eurodans” – perhaps still one of the finest examples of loose-limbed, warehouse-friendly nu-disco – the tache-sporting DJ/producer has released just four more original compositions (and one of those was a live jazz remake of “Eurodans”). For a man of his talents, it’s incredibly frustrating.
Given this slow work-rate, it’s perhaps no surprise that there’s been much interest in this four-track EP for Gerd Janson’s Running Back imprint. Predictably, it’s a bit good, and arguably his best original work yet. While there’s nothing as melodically “big” as “Eurodans”, there’s clear demonstration of progression – both musically and in the quality of production.
“Ragysh” itself is the most obviously impressive of the four cuts. Like much of the best dance music, it is devilishly simple. For much of its nine-minute duration it offers little more than a rock-solid, head-nodding, house-not-house groove built around his trademark disco percussion and a nagging electronic riff. But then the breakdown comes in, introducing us to a raft of delightfully cosmic melodies that dart around excitedly, propelling the track towards a gasping climax. Orgasmo-house anyone? “Ragysh” has an alter ego in “Bonysh”, a self-consciously stripped-down drum track that ekes maximum thrills from simple switches between ever-more druggy percussive patterns.
The real highlight, though, is the more playful “Snooze4Love” – a delightfully Balearic concoction that bubbles excitedly with electronic gorgeousness. Its shuffling rhythms and minimalist approach to melody suggest that Terje has been studying German electronic music, but it still sounds much more Oslo than Berlin. The digital release also includes a sublime downtempo remake, which dubs out the glistening electronics and adds dreamy guitar phases for maximum Balearic effect. It sounds like an otherworldly jam between Pat Metheny, Steve Reich and Lindstrom, which is no bad thing.
With the global recession still biting hard, and every possible permutation of DJ controller and retro-chic synthesizer seemingly exhausted, the question must be: is now a good time for the world’s audio manufacturers to be launching a slew of new products at Germany’s annual music-tech blowout Musikmesse? And the answer must be: Jahwohl!
Artist: 2562 Title: Fever Label: When In Doubt Genre: Techno, Dubstep Format: 2xLP, CD, Digital
For a producer who earns a living patrolling the moody sonic terrain between dubstep and techno, the third album from Dutchman Dave Huismans under the 2562 alias is his most raucous yet. A notable progression has been made from the dense atmospherics and subterranean bass that characterised 2008’s Aerials and the dark textures of 2009’s Unbalance, both of which saw release on Bristolian imprint Tectonic. Fever – released via Huismans’ own When In Doubt label – has a more insouciant slant, albeit buried beneath several layers of robust drum programming and hanging synths.
It’s perhaps a little strange then that this development is in part the result of Husimans’ concept for Fever: every single sound used has been sampled from 1970s and 80s disco records, with the producer’s year of birth (1979) used as a something of a centrepoint. Although the LP’s artwork is a beautiful illustration of this fact, were it not publicised when the album was announced no one would have picked it – it’s the most un-disco disco record you’re ever likely to hear.
The stuttering rhythms and disorientating panning of “Winamp Melodrama” opens Fever, followed by the whirring effects and muffled vocal loops of “Cheaters”. The chaotic drum programming on “Juxtaposed” brings to work the mind of fellow genre ignorer FaltyDL, before “Intermission” marks the album’s halfway point and paves the way for Huismans’ most outlandish moment, namely the unrelenting party techno stomp of “This Is Hardcore”. God only knows which disco records he sampled for this one – but it’s enamoured with bucket loads of groove and swing (sadly it only appears on the CD and digital versions of the album, although it also appeared on a blink-and-you’ll-miss-it 10” which surfaced back in February).
The mechanised fuzz and raved up synths of “Brasil Deadwalker” maintains the sweat-drenched basement momentum which now been firmly developed, before “Final Frenzy” offers just that – one last burst of fire before things are reeled in towards a natural conclusion. The gloopy bass and odd yelps of “Wasteland” and strangely evocative shuffle of the album’s title track provide yet more evidence that this is a producer who possesses both exciting ideas and the nous to make them happen in the studio.
Our friends at Fabric have found room on their list for a couple of Juno Plus readers to enter the hallowed Farringdon venue this Saturday with a suitably varied line-up across the three rooms doing all the talking.
Artist: Various/ John Morales Title: The M+M Mixes Volume 2 Label: BBE Genre: Disco Format: Unmixed CD, Digital
2009’s M+M Sessions Volume One was undoubtedly one of the most essential disco/electro-funk compilations of recent times. Over the course of two discs, it brilliantly chronicled the productive studio partnership of celebrated NYC engineers and mixers John Morales and Sergio Munzibai. Its disco digger-friendly mix of unreleased extended versions, after hours dubs and unreleased demos perfectly demonstrated the duo’s immense talents and deep knowledge of what would work a dancefloor. No disco collection was complete without it.
Naturally, hopes are high for this second instalment. This time round, Morales (the sole survivor of the M+M partnership) has dug even deeper, dusting down previously unreleased versions of some lesser-known bangers. For disco completists, then, The M+M Sessions Volume 2 is a more exciting prospect than its predecessor.
With 22 strong tracks to choose from – a number featured in both vocal and instrumental formats – picking highlights is tricky. It’s perhaps no surprise that some of the real stand-out moments come from Leroy Burgess-related projects – see the deliciously dubbed-out take on the Fantastic Aleems’ “Get Down Friday Night”, the uplifting “Hooked On Your Love” (another Fantastic Aleems cut) and Logg’s “Dancing In The Stars”. More of a surprise, perhaps, is Morales’ epic remix of War’s “Slippin’ Into Darkness”, which is the sort of lo-slung, reverb-laden dub disco workout that will appeal to fans of the Idjut Boys and DJ Harvey. Those of a more 80s disco persuasion will enjoy the version of Evelyn Thomas’ “Heartless”, which sounds like a cooler, underground version of Jocelyn Brown’s “Somebody Else’s Guy”.
These are just a few of the highlights; in truth, there are many. There’s a whole heap of Salsoul-related goodies, including Morales’ soon-to-be definitive version of Inner Life’s brilliant “Caught Up (In A One Night Love Affair)”. Oh, and a couple of quite remarkable, previously unreleased dubs of vocal disco anthems. Well and truly essential.
Whilst Teengirl Fantasy’s “Cheaters” proved to be one of last year’s most enduring tracks, the album it was culled from was perhaps overshadowed in the coherency stakes by the shorter but more sumptuous sounds of the Touched EP from Merok label mates and compatriots Blondes.
Anyone who was sucked in by the slow burning delights of tracks such as the 11 minute epic “Moondance” or the Milli Vanilli sampling “You Mean So Much To Me” will have elicited a certain gleeful shriek of excitement at the news boutique label RVNG INTL was working with the NYC duo on a series of conceptual twelve inch releases spread across the months of 2011. The first release, centred on the theme of love and hate, can only be described as auspicious!
If there was any criticism of the tracks on Touched it was that the composition was too linear. On the evidence of “Lover” and “Hater” it seems Zach Steinman and Sam Haar have become more adventurous in their approach to production – a natural occurrence for the duo that has toured extensively in the period before and after Touched was released.
This new material builds on the heady hypnosis of these early productions, delivering them in a more polished veneer that retains the duo’s capacity for devastation but adds a certain pervasive, darker element which elevates the music to higher levels. “Lover” is Blondes at their tribalistic best, steadily building from woozy beginnings into a throbbing house rhythm drowned out by shamanistic chanting courtesy of some smart Meredith Monk sampling. A potent part of the Blondes live set, “Lover” remains powerful here, not least when the midpoint momentum gets turned up a notch.
Flipside excursion “Hater” arises from a sonic mist naturally cloaked in dark tones, with the crisp cascading percussion seemingly acting in reverse as it cuts through the thick bottom heavy throb. What really impresses is how Blondes twist the track inside out, bringing drawn out colourful melodic textures to the fore as “Hater” mutates into a thrillingly industrial slice of modern electronic music. It’s one of those tracks that make you crave the colour synesthesia condition to experience the progression and little explosions of sound on another, more engrossing level.
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