Artist: Objekt Title: Cactus Label: Hessle Audio Genre: Sonic warfare Format: 12"
There’s a moment in Objekt’s track “Unglued”, self-released by the artist last year, where everything stops and a punishing bass rips through the mix. Musically it serves no purpose; its deployment is purely intended to create a physical response, and heard in the confines of Plastic People last year, it felt like a cruise missile had just flown through my ribcage.
It’s difficult not to use the language of warfare when describing Objekt’s tracks, given that they’re so akin to sonic weapons; when he’s not creating the kind of basslines that could make you vomit, he’s creating techno with all the militancy of Underground Resistance. His first two EPs displayed a production mastery which rightfully catapulted him into the premier league of dubstep/techno crossover producers, but there was a tendency for him to meander slightly (the 7-minute “Unglued” is a case in point). There are no such criticisms to be levelled here however: this 12” feels leaner and more focused, giving each side over to a distinct version of the two styles he takes the most from – dubstep and techno. “Cactus” is ostensibly the dubstep side; its wobbling bassline recalls Mala’s savage productions, tweaking the oscillators just enough to make the bass scream whilst keeping things tasteful, despite its unhinged metamorphosis into a raygun at the halfway point. Rhythmically, the percussion recalls 2562’s crushing broken-beat with a swing that’s undeniably UK influenced, given all the more punch with its reversed snares and reverb soaked percussion.
If “Cactus” is the record’s tactical nuclear missile, going for a blanket approach, then “Porcupine” is its focused aerial bombardment, with compressed kicks raining down their fury from above like laser guided missiles. Structurally it’s an inversion of “Cactus”; instead of all hell breaking loose at the mid point, it lets itself catch a breath, its maelstrom of pummelling beats easing off, giving way to a cloud of swimming chords with a diamond-like clarity with all the purity and focus of Jeff Mills’ best productions. DJ battle weapons these tracks may be, but when they’re this good, it’s hard to dismiss them.
Artist: Mike Parker Title: Pulse Trader Label: Prologue Genre: Pulsating techno Format: 12", Digital
A cynic could argue that Mike Parker is a one-trick pony, and some of the US producer’s DJ sets have a tendency to sound like one extended droning techno groove. On the evidence of Pulse Trader however, it is clear that Parker is really a classicist with his own signature approach. The title track is based on one of his tunneling grooves but the rhythm is grittier, harsher but also more earthy and tangible, and the tonal bleeps and blips are heavier and more oppressive. It sounds like Parker is sound-tracking a darker side to his personality, but whatever the explanation, the result is one of his most captivating tracks.
“Moisture Treatment 3” sees him revert to 90s techno. This writer has always felt that Parker’s work was inspired in parts by Richie Hawtin’s FUSE project and “Treatment” could be the logical successor to “Substance Abuse”, as its strident bassline surfaces and dives in intensity, accompanying frequency-shifting patterns. By contrast, “Cio’s Underwater” provides a deeper, more introspective take on the Parker template, with glassy percussive licks riding understated low end pulses. In the same way that the title track and “Moisture Treatment 3” portrayed Parker’s in intense mode, “Forward – The 5am Mix” captures him at his most mellow, a soundtrack of bubbling, undulating tones that takes the edge off the preceding menace.
Richard Brophy
Tracklisting:
Side 1
1. Pulse Trader
2. Moisture (Treatment 3)
Side 2
1. Cio’s Underwater Track
2. Forward (The 5am mix)
Artist: Blondes Title: Blondes Label: RVNG Intl Genre: Hypnotic electronic psychedelia & assorted remixes Format: 2 x CD, Digital
This debut eponymously titled set from Brooklyn duo Blondes is not a typical album by any means; depending on how much time you invest in the release schedule of RVNG Intl, it’s likely you will approach Blondes with varying degrees of familiarity.
Less an album, more a collection of Blondes productions at their hypnotic best, the majority of Blondes is formed from a series of three loudly pressed twelve inches released intermittently throughout the course of 2011 which deal with themes of duality. However, given that these records were released in only limited physical quantities and largely sold out soon after release, the majority of people who will be buying Blondes are likely to have only been exposed to the intoxicating, widescreen excursions through sounds and emotions in the form of DJ mixes – be it podcasts or physically in clubs – or during performances from Blondes themselves.
It could be argued that hearing Blondes on a twelve inch cut loud at 45prm by Berlin based mastering experts Dubplates & Mastering is the ideal way to soak in all the details of a Blondes production. However there is a delicious sensation to offering yourself up completely, and letting all eight tracks consume your senses on an infinite loop. Furthermore, the thematic nature of the tracks has always been loose at best and there’s never a feeling that the tracks next to each other jar at your membranes.
The aforementioned “Lover” is the starting point for the album and still retains the capacity to captivate that it did to this writer upon 12” release early last year. Along with “Hater”, its conceptual counterpart, “Lover” demonstrated with devastating effect how Blondes had developed on the promise shown on their 2010 EP Touched. Listen to “Lover” and marvel at how the somewhat linear nature of their production onthat release for Merok had been replaced, even consumed, by a gloriously thick and unpredictable approach. There’s a massive thrill to the way a well chosen, tribalistic snatch of Meredith Monk’s “Rally” battles for the majority of the seven minutes with a perma billowing array of euphoric textures. It’s still totally jaw dropping after dozens of listens so the prospect of hearing it with virgin ears is a wholly envious one.
RVNG Intl boss Matt Werth revealed that Blondes and the label had agreed on the idea of the series after hearing just those first two tracks, and the chance to listen to all eight in chronological order does reveal a nice, gradual change in pace and mood by the time the sombre tones of “Gold” and “Amber” arrive – the latter fizzing, beatless excursion seems a fitting way to end such a twisting rhythmic journey. These tracks are reward enough for those who’ve willingly followed and documented the Blondes musical journey throughout 2011, offering two further thematic explorations from the duo.
It has been the collection of accompanying remixes that has given this writer most joy however, and the ten artists involved are near perfect choices to tease out new musical directions from the source material. They also demonstrate the obvious close bond between artist and label, with the remixers chosen in tandem by Blondes, RVNG and artist managers This Is Music and described by Werth as feeling “like a family affair on paper and in the air.” It’s an illustrious collection sandwiching well known but well chosen producers such as JD Twitch, Traxx and John Roberts between delightful curveballs in Andy Stott and Dungeon Acid and close allies like Teengirl Fantasy and Laurel Halo. This varied approach pays off tenfold, with a stunningly diverse array of remixes that variously borrow and discard elements of the source material with equal aplomb.
Given how much influence the music of Andy Stott has exerted on the ears of the Juno Plus editorial in the past twelve months any attempts to listen to the remix CD in the order laid out were gleefully discarded to immerse fully in the Modern Love producer’s take on “Pleasure”. The resultant remix proves to be just as deliciously good as you’d hope, with mere strands of the source material struggling to escape the all encompassing claustrophobia of Stott’s highly corroded, densely packed production that constantly threatens to collapse under its own weight. Those glorious final few seconds towards where a snatch of Blondes breaks free before falling into the chasm of nothingness should illicit the willingness to immediately seek out the “repeat” button in all.
This is by no means the only highlight of the remix CD however, and those seeking material more appropriate for the communal space of the sweaty dancefloor will delight in the efforts from JD Twitch, Dungeon Acid, Bicep and SFV Acid. It’s the lesser heralded Irish duo Bicep who perhaps succeed most, turning the gently building “Water” on its head and twisting it inside out into a heavily tape saturated ode to how they are increasingly spending their weekends; dictating the rhythmic movements of limb and muscle with the soul grasping euphoria of a remix deftly lifted by a well placed vocal sample.
Amidst the sweat drenched cacophony of these moments there are gentler, but no less impressive or immersive remixes – see Teengirl Fantasy’s all too short rendition of “Wine”, which breaks down all the original’s shuddering elements to focus on one particular, heavenly refrain. Furthermore, the recent R&S signees surround it in an expansive, warm, gloopy gloss, demonstrated best by the gently glowering piano refrain that appears midway. And then there is the final act, Rene Hell of Type Records perfectly chosen to reinterpret the crackling soundscapes of “Amber” as a heart wrenching orchestral piece which is nothing less than stunning.
Tony Poland
Tracklisting:
Disc 1
1. Lover
2. Hater
3. Business
4. Pleasure
5. Wine
6. Water
7. Gold
8. Amber
Disc 2
1. Lover (A JD Twitch Optimo Mix)
2. Lover (Dungeon Acid Remix)
3. Hater (SFV Acid’s Encino Oaks Remix)
4. Business (John Roberts Remix)
5. Pleasure (Andy Stott Remix)
6. Wine (Teengirl Fantasy Remix)
7. Water (Bicep Remix)
8. Gold (One Blonde Strange Idea by Traxx)
9. Gold (Laurel Halo Chains Remix)
10. Amber (Variation in Cm by Rene Hell)
Artist: Andrés Title: New For U Label: La Vida Genre: Detroit beatdown and jazzual house Format: 12"
It’s pertinent that in a week the music world once again poignantly celebrates the far reaching influence of the sorely missed J Dilla, one of his friends elects to continue the legacy the Detroit producer left in the best way possible – with the foundation of a new label. When quizzed in a 2010 interview with La Familigia magazine what the most important lesson he learnt from Yancey was, Andrés responded with no small amount of emphasis, “listen to your records”, and this is something that has certainly rung true in everything the producer has released to date.
Naturally at the helm for the first release on his own La Vida imprint, Andrés continues to plough a path between the mid tempo beatdown and housier fare on New For U, the three tracks every bit as essential as his most recent output on Mahogani. The influence of Dilla and Dixon Jnr is apparent throughout, though Andrés very much has his own sound, be it the infectious snap of percussion or the subtle and inventive usage of samples, and it’s all wrapped up in his obvious love for exploring and playing music – something which is apparent to anyone who tunes into his regular webcasts.
The title track is a gloriously ripe combination of these aforementioned elements, as drums caked with thick dust intertwine with a gorgeous array of strings, soft vocals and warm chiming chords. Everything is chopped with deftness into a rhythmic template aimed towards the heavens. It’s hard not to get caught up in such a simple yet devastatingly effective track arranged in a manner that keeps your attention throughout.
Alongside it “Drama Around The Corner” makes for one of Andrés’ trademark neck snapping beatdown moments and is testament to his statement regarding what Dilla taught him. The level of percussive detail that’s apparent when you concentrate fully can only be the work of a man who knows his record collection inside out and it’s complemented by the hazy sampledelica of expertly teased out vocal embellishments and jazzual horns.
It makes for a charming almost brief interlude to the B Side magic of “Jazz Dance” which sounds like the track Dani Plessow dreams about making every night. The stripped down arrangement of bumping drums, low reaching double bass and swift keys occupies most of the B Side and yet feels like it could reach deep into infinity without losing any of its charm.
Artist: Claro Intelecto Title: Second Blood Label: Delsin Genre: Techno Format: 12", Digital
Jeff Mills said nearly a decade ago that techno is being made for an aging audience. Regardless of whether this is true or not, what happens when the artists themselves start to get older – can they maintain their relevance? In the case of Mark ‘Claro Intelecto’ Stewart, the answer to this conundrum is simple; go back to your roots.
The Manchester producer may have settled down, but creatively, SecondBlood shows that he’s as dynamic as ever. “Heart” marks a return to the first Claro Intelecto album, Neurofibro or the more understated sections of its successor, Metanarrative, with an atmospheric, ambient soundtrack gently unfolding, populated by muffled, half-heard vocals. The title track sees Stewart pick up the pace, but although the underlying bassline has a dark, resonating edge to it, the tempo is sluggish and the chords flutter about in a way that suggests the producer is seeking to tease out new directions for his sub-heavy techno.
“Voyeurism” has no such ambitions, but sounds all the better for it; like the best tracks from the Warehouse Sessions series, its bass plays the central role, a fathomic, all-encompassing series of tones that steers the plaintive melodies on an irresistibly evocative path. Sometimes to stay ahead of the curve, you first need to take a few steps back.
Artist: Nightjars Title: Nocturnal Label: Vae Victis Genre: A 12" of two sides Format: 12"
Vae Victis made quite a splash with their first release, pairing The Analogue Cops with Blawan to spark off some gritty and very ‘of-the-moment’ dancefloor smashers. After that canny signing, their follow-up sees apparent newcomer(s) Nightjars taking the reins but still maintaining the philosophy of analogue processes and hybrid styles. The concept is further crystalised here with two distinct sides to the record; one features tracks run through grainy equipment for that must-have rawness, and the other contains two tracks lovingly perfected in a plush studio.
Starting with the ‘raw’ side, “Thing Movin On” steps and shudders in a sparse fashion, using very little percussion besides a kick and rimshot playing against a looped synth refrain and a purposefully distorted vocal sample. It’s a dreamy broken beat track at heart, and its simplicity makes it alluring, but the militant production method Nightjars have forced upon themselves seems a little forced at the expense of the track. If the elements could be lifted out of the ill-rendered murk they wallow in, the track would be far stronger for it. “Heavy” however fares far better with some nasty processing, as a mean acidic bassline rubs up against razor sharp hats in belting fashion. Once again the simple approach has been employed, with the barest of elements feeding into the kind of rave track that soundtracked many an edgy warehouse back in the day.
After all the dirt of the ‘raw’ side, the more melancholic material in Nightjars’ repertoire has been wisely saved for the ‘clean’ side, starting with the plush finish of “Left People”. The drum patterns maintain the stripped back ethos, but in this instance a gently delayed melody rings out in a never-ending loop of repetition that seems to come from the Terry Riley school of composition. It’s a neat concept, although it does come off a little dull in the lack of variation, possibly due to limitations imposed by the hardware approach.
After that ambiguous exercise, “Everynight” positively shines for its focus and dynamics. While there’s no greater complexity at work in the music, the pace and flow of the track feels far more engaging, not least when the vintage garage-house bassline comes in. The same twirling synths abound, but everything sits more comfortably in the mix, making for a nostalgic treat of broken goodness. While the determination in their studio practice is admirable, at times Nightjars seem to have limited themselves before they really know how to get the most out of the analogue way. However when the ideas and the processes intertwine more happily, the results make for some very worthy tracks.
Artist: John Swing Title: Relative 07 Label: Relative Genre: Dusty house Format: 12"
The concept of making raw, mostly analogue house music in 2012 is an intriguing one. It’s well documented that the distinctive sound of early Chicago and Detroit records came not from production trickery or sleight of hand, but from equipment being used on a trial and error basis; the results, in the right hands, were futuristic, loose and deliciously appealing.
Equally well established is the fact that scores of producers have been trying to replicate that hallowed “raw” sound with decidedly varying degrees of success ever since. Debates over the relative merits of software vs hardware are tiresome, ill-informed to say the least and not worth covering here; it’s much more fun to bask in the talent of modern day torchbearers who bring the DIY ethos to modern dancefloors.
The most pertinent examples to these ears include Andy Blake’s growling, one-take techno jams for his Cave Paintings imprint, as well as Marcello Napoletano’s rattling excursions which smother primal Mediterranean passion on top of jacking Chicago beats. Then there’s Windy City native Jamal Moss, whose reliably left-of-centre output on Mathematics carries elegant, distant echoes of the more functional house sound his city is known for wrapped up in his own sense of mysticism.
There’s a new, younger breed of producers too, operating on labels like Rawax, Analogue Solutions (whatever you may think of Eduardo De La Calle’s edits-not-edits) and, most notably, the mysterious collective who produce under the elusive LiveJam, Relative, Restoration and Appointment clutch of imprints. Their purist, vinyl-only approach borders on militant (Ben UFO’s attempts to license a Livejam track for last year’s Rinse FM mix were politely declined due to the fact it would be available on CD format) but therein lies the charm; heads down, no compromise. Central to this stable has been the work of one John Swing, whose productions sound like they’ve been made in a dank basement consisting of a bunch of drum machines and dusty blues records ripe for sampling.
His latest missive, Relative 007, is comprised of four tracks. “Clint’s Theme” opens with doubled-up claps, beefy kicks and a filtered bassline – the basic elements of pure, visceral body music – before a heavily treated piano refrain is brought in, toyed with and subsequently dispensed. Then the vocals – seemingly intoning the words “wounded, I am” – enter, before the kick returns with just that little bit more bite and the hats with a touch more skip. “Wear And Tear” is rougher still, with heavily distorted hats of the Shake Shakir variety and a looped up funk bassline. On the flipside, “Funky Thoughts” is a loop house cut buried under a bed of distortion and crunchy hats, while “Slightly Jacking” is probably the funkiest of the lot; a simple but delicious one note bassline forms the rhythmic, hip shaking thrust with subtle vocal snippets adding a wholly intoxicating element of sleaze.
Artist: Maxmillion Dunbar Title: Polo (versions) Label: Live At Robert Johnson Genre: Dreamscape house Format: 12", Digital
Maryland-based producer Andrew Field-Pickering seems to exist in a gloriously technicolour world of his own. Ever since he dropped his first Maxmillion Dunbar single – the synths and abstract hip-hop jam “Outrageous Soulz” – back in 2008, he’s turned his hand to numerous musical styles without ever seeming to quite fit in with any of them. 2011 debut album Cool Water (one of several releases on Ramp Recordings) saw him flit between off-kilter downtempo synthscapes, dub-laden 80s drum workouts, shimmering house-not-house and the sort of wonky beatscapes preferred by Glasgow’s Numbers crowd. While it was something of a mixed bag – both in terms of quality and production styles – almost every track was characterised by vivid, pin-sharp synths and gorgeous, head-soothing melodies. While he’d not found his niche, he was already cultivating an impressing sonic palette.
As the year wore on, he began to refine his sound. Crucially, he also began applying his love of texture, melody and atmosphere to house – though it wasn’t like any kind of house you’d heard before – via both his own productions and those as one half of the Beautiful Swimmers alongside Ari Goldman. The solo Max Tracks For World Peace EP, featuring a trio of Elysian compositions with a genuine dancefloor pulse, confirmed his arrival as a producer with genuine talent. Suddenly, he was making music that not only ticked the right boxes, but also sounded fantastic to boot.
The stand out track from that EP was a rainbow-tinted fusion of old-world ambience, contemporary deep house and shimmering, synth-wave goodness called “Polo”. Although superb, it seemed to be rather overlooked at the time, perhaps because its kaleidoscopic melodies, spacious grooves and eyes-wide-shut feel didn’t quite fit in with contemporary dancefloor values. Pleasingly, Live At Robert Johnson have decided to give it a much-deserved single release, with two brand new versions for Dunbar fans to drool over.
And drool you will. Field-Pickering has provided a brand new extended version, with stretches out the six-minute original into ten minutes of crystalline gorgeousness. Sounding not unlike an unlikely cover version of “Sueno Latino” by Pal Joey, The Orb (circa Adventures Beyond The Ultraworld) and original Nu Groover Lamont Booker/LB Bad, it gorgeously ebbs and flows, slowly shuffling towards the dancefloor and then back the sofa in one easy movement. It’s a sublime piece of electronic music, and worth every second of its 10-minute duration.
Arto Mwambe man Phillip Lauer – a Live At Robert Johnson regular whose debut album will drop on Running Back later this spring – provides the remix. It’s a smart choice from the LARJ camp, because Lauer is no stranger to melodic, soundscape deep house. His remix keeps many of Field-Pickering’s original elements, carefully placing them over a synth-heavy, retro deep house groove. He adds some wonderful new melodic elements of his own, too. The resultant swirling synth-house bubbler sounds not unlike early Bobby Konders and LB Bad given a 21st century makeover; an enticing proposition for anyone who enjoys the more musically ambitious and sophisticated end of deep house.
Artist: Madteo Title: Bugler Gold Pt.1 Label: Hinge Finger Genre: Detroit beatdown filtered through the lens of Amber-era Autechre Format: 12"
Many may have been surprised to hear that the first release on Joy Orbison and Will Bankhead’s new Hinge Finger imprint was going to be from Workshop associate Madteo, given Orbison’s recent forays into more abrasive territory with Boddika. However Orbison and Bankhead have had a longstanding admiration for the German imprint, with Kassem Mosse being chosen in 2010 to remix Braiden for Orbison’s Doldrums imprint, and a cassette mix from Mosse being released through Bankhead’s Trilogy Tapes imprint.
Madteo’s beats have always hung a little looser than those of his Workshop labelmates, and it’s an approach he also takes with track composition, with BPMs and moods varying wildly throughout the EP. On “Bugler Gold” for instance, a languorous bassline drips between a barely-there kickdrum; it couldn’t be more different than “Biz R Us (Whore Powers Resolution)” which follows it, a clunking rhythmic machine that maintains a thunderous forward momentum despite its sharper edges being coated in a soporific blanket of Chloroformed cotton wool.
The B-Side is another totally different proposition: “Scream Seq”, with its library music arpeggio and odd melodies has the feel of a 70s US public information film soundtrack. Its relatively bright tones are a stark contrast to what is arguably the most dancefloor friendly track on the EP, “Xtra Loose Change (2010 refix)”, though even this is weighed down with beats that feel like they’re being dragged through mud. It’s the sort of relentlessly deep house that is held together with little more than rhythm and pure atmosphere, each percussive micro-element perfectly balanced with a bassline which is almost beyond the limit of human hearing. But although there’s little ostensibly holding these disparate tracks together, stylistically the EP oozes the foggy atmosphere of Amber-era Autechre, filtered through the lens of Detroit beatdown, a mood reflected perfectly in the stunning Bankhead designed sleeve, featuring a sinister photo and mosaic frame rendered in grainy slate gray.
Given Orbison and Bankhead’s shared love for Workshop it’s hard not to approach this record with that label in mind. Are the pair attempting to create a British homage to the label? Obviously one release is not enough to tell, but if future releases are this strong, and see the pair engage in some shrewd A&R moves outside of the Workshop stable, Hinge Finger could well be a worthy rival to its throne.
Scott Wilson
Tracklisting:
1. Bugler Gold
2. Biz R Us (Whore Powers Resolution)
3. Scream Seq
4. Xtra Loose Change (2010 refix)
Artist: James Mason Title: Nightgruv Label: Rush Hour Genre: Proto House Format: 12", Digital
James Mason has never been the most celebrated of electro and boogie musicians. Possibly best known as part of Prelude-signed electro/hip-hop/synth-disco crew Wuf Ticket (makers of the brilliantly silly “Ya Mama”), Mason released just one solo album, 1977’s disco era Rhythm of Life, before finding greater acclaim with his synthesizer/rap crew. Yet two of his productions, previously unreleased at the time of their creation, have recently gone on to become “proto-house” classics.
According to Mason’s sleeve notes on the belated 1996 release of “Nightgruv” and “I Want Your Love”, he recorded them both in 1984 in a bid to secure a contract to make a new album. They were turned down and sat gathering dust for 12 years before finding a home on Mighty Fine Records (and later reissue specialists Soul Brother Records). Since then, both – and in particular, the better-known “I Want Your Love” – have earned a reputation amongst boogie, garage and disco-heads as two pioneering works. It’s perhaps fitting, then, that Rush Hour have decided to give them another re-release.
It’s perhaps “Nightgruv” that is the most startling of the two tracks. Based around the sort of heavy 808-kick that would later form the backbone of Chicago’s house movement, it slowly builds via waves of ear-tingling keyboard melodies and a bassline that comes straight out of the Mr Fingers/Nu Groove handbook. Except, of course, it was made years before both rose to prominence. Looking back, it’s sad to think that such a far-sighted piece of music – one that basically offered a blueprint for deep house – was turned down. Mason also claims that it was merely a demo and he always meant to re-record it. If anything, that makes the two versions included here – one of which is a previously unreleased extended edit – even more astonishing.
“I Want Your Love” is similarly impressive, but for a host of different reasons. An 11-minute epic that slowly builds towards a near-orgasmic crescendo, it offers a touchy-feely, piano-laden take on the boogie slow jam that still sounds years ahead of its time. Grandiose vocals, pianos and cosmic synth lines ride a killer slow groove comprised of shuffling live/drum machine beats (an imaginative combination) and two basslines; a subtle, walking electric bass figure and a squidgy, proto-acid synth line. Put it all together, and you have something that’s nothing less than sublime. By the time the urgent guitars come in and the track hurries itself towards its thrilling conclusion, you’ll be lost in its heady charms. It’s unlikely that Mason’s other musical endeavours will be remembered in 20 years time, but these two tracks most certainly will.
Artist: John Talabot Title: ƒin Label: Permanent Vacation Genre: House Format: Digital, 2xLP, CD
It’s a mark of the quality of John Talabot’s productions that they spark debate, not least between journalists and the producer himself. Ever since the first tracks started trickling out of his Barcelona studio in 2009, he has proved a master at producing the sort of rich, deep, melody-driven house that transcends dancefloors. Listen to his definitive single Matilda’s Dream, for example, or his contributions to Permanent Vacation’s superb If This Is House, I Want My Money Back series, and you almost forget they’ve been designed to make people dance.
And here lies the crux of the gentle stand off between Talabot and music critics. They say his music is sublime, summery, shimmering, soulful even. He says it’s dark, brooding and, on occasions, intense and the seasonal description was dismissed by Talabot himself during his keynote talk with Gerd Janson at last year’s Red Bull Music Academy, pointing out the name of his label, Hivern, is in fact the Catalan phrase for winter. Furthermore, in an interview elsewhere on these pages last autumn, he reiterated his opinion, promising that his recently completed debut album, ƒin, was “dark”. He also conceded that he had “no idea what people will think of it”.
To this writer’s ears ƒin is not an album shrouded in sonic darkness to the extent of a Blackest Ever Black release, but you can understand Talabot’s thinking, as there is a definite mood and atmosphere present throughout. Tracks such as “Oro E Sangre” and “El Oeste” are trademark Talabot breezy, melody driven productions, but these elements are defied by the underlying brooding intensity. For all the endorphin-releasing, swirling melodies and touchy-feely, retro-futurist grooves, there’s an uncomfortable edginess and melancholic depth that’s hard to ignore. Either way, there’s plenty of beauty to behold. At times, your heart will feel heavy and lovelorn; at others, it will sing.
Talabot has always been an impressive producer, but ƒin is easily his greatest creation to date. This could partly be attributed to his conscious decision to make it a “proper” album. While several of the tracks will no doubt end up getting plenty of club rotations, for the most part it’s designed to soundtrack hazy, late night listens from the comfort of the sofa. Even relatively uptempo concoctions such as the stumbling, woozy vocal cut “Journeys” – shoegazing house-tronica anyone? – seem designed more to enthrall headphone listeners than zoned-out dancers.
For the most part, ƒin is deeply rooted in house, yet it’s not a house album. In fact, it probably has more in common with IDM, electronica and new wave synth-pop than it does the productions of Kerri Chandler or Move D. It’s littered with quietly grandiose slo-mo and downbeat moments that recall the impossible-to-pigeonhole antics of Hyetal (circa the thrilling “Broadcast” set), Sepalcure and Instra:mental. Of course, it doesn’t particularly sound like any of those, but at times Talabot takes a similar sonic approach (see the spiraling chords and shuffling beats of “Last Land”, or the twisted vocal cut-ups of “Estiu”).
The album’s standout moment is its triumphant conclusion, “So Will Be Now”. The second of two collaborations on the album with fellow Hivern and Permanent Vacation artist Pional, it could well be an early contender for track of the year. Weighing in somewhere between deep acid house, future garage and blissful IDM, it features a distinctive, twisted vocal sample with echoes of Joy Orbison’s early work. Quietly building throughout, “So Will Be Now” is almost so beautiful it hurts. As the pitched-down vocal muses, “I hear a tender rhapsody”. It’s a fitting summary of a wonderful album.
Matt Anniss
Tracklisting:
1. Depak Ine
2. Destiny feat. Pional
3. El Oeste
4. Oro y Sangre
5. Journeys feat. Ekhi
6. Missing You
7. Last Land
8. Estiu
9. When The Past Was Present
10 H.O.R.S.E.
11. So Will Be Now… feat. Pional
Artist: Xosar Title: Ghosthaus EP Label: Rush Hour Genre: House Format: Red 12", Digital
Having released her first record on L.I.E.S this month, we now see Xosar’s second EP, Ghosthaus, on Rush Hour Recordings. The record features two tracks, and includes two remixes from Mr Danny Wolfers under his Legowelt moniker. They’ve been playing gigs together in Europe and the U.S. recently, and their sounds complement each other well. The Ghosthaus EP remains true to its namesake, guiding you through an exploration of deathly sounds – fear lurking around every corner, the chance of escape unlikely.
We open with the title track, as droning synthesizers slowly take you across the River Styx. Waves gently lap the side of your crumbling rowboat, as the ferryman rows in time with the cavernous claps interjecting this mournful funeral process. Delicate key-work builds yet another layer as the beat slowly marches towards the underworld. The half-time structure and house tempo adds tons of space and Xosar fills every inch of it with dread. Muted and subtle synths slowly undulate beneath a suffocating beat, making the crossing of this river, and the entry into the after-life, both horrendously unnerving and strangely uplifting.
This track introduces the record perfectly, and sets the listener up for everything that is set to come. If “Ghosthaus” acts as an introduction, then Legowelt’s reworking works perfectly as the first chapter. The remix is a feature length version of the original, utilising a sound that is typically Wolfers– warm, interesting and unique. The core synth progression has been lifted almost untouched, but the track is transformed by a four-four beat pattern and some sharp, purring pads driving the rhythm.
The remix slots perfectly on top of the original by maintaining a continuation of the same musical themes. It takes you deeper into the underworld and leaves your heart racing alongside the layered drum patterns and intimidating keys. The breakdown is also phenomenal, suddenly hanging its listener out to dry on a cold plane of science-fiction synthesisers, before firmly thrusting them back into a sombre death march.
The B-Side opens with Xosar’s “Rainy Day Juno Jam” and is the only track that breaks the circle of dread on the rest of the EP. On first listen it seems completely out of place, but on further examination you come to realise that it gives balance to the entire record. Far from being catapulted towards death, “Rainy Day Juno Jam” gently pulls you back into the light. Sparkling, lively and angelic synth-lines build on top of one another, while heavenly voices – trapped in a temporal void – call out through a stripped down rhythm.
A few singular cowbells are randomly dotted throughout, adding a beautiful touch which every so often adds a new layer to an already impressive piece of music. This track appears to be an attempt to give “Ghosthaus” an opposing argument; the synth structure and rhythmical swing all remaining reminiscent of the first track on the record, but executed in such a way as to flood the darkness with a multitude of light. Legowelt closes out our journey, and as ever, takes the essence of “Rainy Day Juno Jam” and channels it through his own aesthetic. Relentless hi-hats, a forward marching, muted kick drum and the ghost of a snare hit are all that makes up the beat.
He turns the keys on their head, a mirror opposite of the original, drawing its listener back into ambivalent fear. Wolfers manages to retain some of the light, letting it linger in the air while simultaneously maintaining the record’s darkest elements. The clue to Ghosthaus is in the title; it’s the decomposed and rotting body of house, taking you deep into a murky underworld and leaving the spectral demons of Chicago’s past, present and future lingering in your mind.
Frank Mitchell
Tracklisting:
1. Ghosthaus
2. Ghosthaus (Legowelt remix)
3. Rainy Day Juno Jam
4. Rainy Day Juno Jam (Legowelt remix)
Artist: Basic Soul Unit Title: Northern Heights Label: Other Heights Genre: Techno Format: 12"
Stuart Li has been doggedly hammering away on his studio set up for many moons now, quietly issuing forth his own vision for jacking house dynamics married to emotional depth. Based in Toronto, the artist has managed to operate relatively under the radar with his Basic Soul Unit alias, a name so seemingly non specific as to evade the memory the first few times you hear it. However the profile of Canada’s second city is steadily rising, with the likes of Art Department, Kevin McPhee and Egyptrixx all drawing attention to the sprawling metropolis of East Canada.
Now Belgian label Other Heights are issuing forth this selection of jams that continue the Basic Soul Unit mission, bringing a rough, Detroit-indebted method to play on two original tracks. The beguiling aspect of BSU is that, despite his influences being wholly apparent, his music manages to charm in a way that is utterly unique.
“Come On” starts fairly innocuously, with one of those tell-tale off beat snares that Mr. Li favours in his tracks, steadily bleeding into a pad n’ piano kind of deep house jam. So far, so standard, but late into the third minute a nasty, chunky bass synth comes in from nowhere to completely jar the steady workout. When additional harmonising strings get thrown in to accentuate this sudden switch up, the drama harks back to the first time Martin Buttrich’s “Full Clip” got blasted out by Carl Craig. It comes on like big-room theatrics played out in an intimate setting, and perfectly typifies why Li manages to bring something of himself to a well-worn avenue in house music.
On the flip “Growing Pains” is more immediately distinctive, with a naughty little bassline and beautifully filtered Juno synth work jamming away in a loose but considered fashion. There’s an acid heart beating away at the centre of this laid back jam, not least in the mid–section where the almost jazzy keys chafe against the arpeggio tricked out like a 303. That duality makes for another exemplary reason why a classically rooted sound can still be delivered in fresh ways. Siberian producer Unbroken Dub gets the opportunity to remix both original tracks and smooths them out into an easily digestible haze of dubby treatment and linear beats, creating tracky, late night grooves that will please those who have followed his contributions to the vinyl-only Rawax series with a hawkish eye.
Artist: Dadub Title: Way to Moksha Label: Stroboscopic Artefacts Genre: Finely sculpted techno Format: 12", Digital
For an act that had only a few releases to its credit so far, Dadub sound strangely familiar. That’s because the Italian duo behind the project, Daniele Antezza and Giovanni Conti, have been responsible for the mastering, production and engineering on the Stroboscopic Artefacts label. So even if their names don’t have household status in techno, their work does, and they have played a huge role in contributing to the label’s mixture of dub, broken beat and bassy techno. It is also worth noting that they have worked on the Dadub project for four years, and rather than rushing out music so as to gain recognition, they have taken their time to develop the project’s output to a fully-formed level.
Both of these factors, as well as their love of Lee ‘Scratch’ Perry, are audible on Moksha. Cavernous textures loom in the foreground on “Perseverance” and “Moksha”, but instead of sounding like they are trapped 20,000 fathoms below sea level, the skittish off beats and wiry rhythms lend them some dance floor resonance. Despite this, it would be hard to find a peak-time club that would champion “Beyond the Veil” or “Temptation of Maya”. Both evolve gradually and teasingly, with layer upon layer of sounds and textures flowing over twisted, mid-paced rhythms. Like a more reflective version of the Monad series, Way to Moksha is horizontal techno at its finest.
Artist: Delta Funktionen/Various Title: Interia: Resisting Routine Label: Ann Aimee Genre: Techno Format: CD, Digital
The people who got to know Niels ‘Delta Funktionen’ Luinenberg through his ponderous Electromagnetic Radiation release or the adeptly programmed warm-up sets posted online may be surprised by the approach on Inertia. However, its direction could hardly be described as unexpected. The second volume of Electromagnetic Radiation and the grimy warehouse techno of Silhouette make perfectly clear that the Dutch DJ/producer likes to play it hard as well as deep. In that regard, Niels is not alone, and this mix, which consists solely of exclusive material, shows that a whole new wave of European techno producers is on the same wavelength.
The mixture of the musical and forceful is audible from the outset, with textured chords unfolding over an angular rhythm on Sascha Rydell’s “Rainy Days”, a few tracks later as Cosmin TRG does his best mid to late 90s Ian Pooley techno impersonation over a rolling, warm bass and midway through on Peter Van Hoesen’s “Last One at 1080”, where evocative but eerie pads build to the backdrop of a prowling groove.
In other instances, Luinenberg dispenses with the musical approach and focuses on pure rhythm tracks. From the bleeping austerity of Sawlin’s “Excipidial” to the grungy rumble of Ozka’’s “Square Beauty” through the punishing percussion of Marcelus’s “24/7” and the searing broken beats of Lucy and the militaristic stomp on Area Forty One’s “CNTCT”, much of Inertia is unflinchingly bleak but wholly captivating nonetheless. In case the listener forgot about the flipside, Niels drops spacey synths, which envelope the rolling, dub rhythm of “Torpor”. It’s a stunning finish to a mix that effortlessly balances the hard and the soulful.
Artist: Various Title: Relish 3 EP 2 Label: Relish Genre: Synth-driven melodica and motorik funk Format: 12"
Robbie Insinna’s Relish imprint is one of those dependable labels that operates outside the harsh focus of musical trends, wisely choosing to go about their business safe in the knowledge that individuals whose tastes are not dictated by Attention Deficit Disorder will always check in to see what the Zurich based label is up to. This EP sees four further tracks from the label’s digital compilation Relish 3 that was released last autumn, featuring the likes of Daniel Avery, JR Seaton and Insinna himself under the recently established International project across 24 inches of wax.
Daniel Avery is of course more commonly known as Stopmakingme, but has recently chosen to record under his real name in an effort to dabble in musical endeavours away from those associated with the Soulwax influenced moniker. “Oyster” is a fine example of his current ear for machine driven sludge funk; reverberant gaseous synths cascade around the driving motorik beat whilst Avery fills the gaps with all manner of lo-fi bleeps and textures. Alongside this, sometime Sunday Best artist Fear Of Theydon is employed to remix “Fate Glory” by Montevideo, delivering a sprawling punk funk monstrosity complemented by burrowing Italo bass arpeggios and Jean Waterlot’s intermittent vocal contributions that delicately soar.
The Berlin based JR Seaton came to the fore via material on his own Nocturnes imprint and has been a regular contributor to Relish for several years now. More recently Seaton has been focusing on material under the Call Super name, which to date has delivered an excellent EP for 5 Easy Pieces as well as a stunningly inventive remix of the seminal Peven Everett and Roy Davis Jnr track “Gabriel”. His contribution here is very reminiscent of the emotions that cover version evoked, with “No Other Place” a delightful juxtaposition of gentle melodic tones and jagged rhythms which adds further credence to the opinion the Berlin dweller is one of those who can draw beautiful sounds out of electronic music. Insinna creeps in on the action for the final track as International alongside Stefano for the baggy vibes of “Man Ray”, which sounds like a much needed archival find from the early90s DAT tapes of Sir Andy Weatherall.
Tony Poland
Tracklisting:
A1. Daniel Avery – Oyster
A.2 Montevideo – Fate Glory (Fear Of Theydon)
B1. JR Seaton – No Other Place
B2. International – Man Ray
Artist: DJ Q Title: All-Junglist Label: Unknown To The Unknown Genre: Technicolour bassline and garage Format: Digital
Since its inception last March, London based Unknown To The Unknown, run by Hot City’s DJ Haus, have been surprising all with their eclectic approach to curation, with releases from a former DFA and Soul Jazz alumnus (Capracara), a juke inspired former RBMA graduate (Nightwave), one of Chicago-house’s veterans (Marcus Mixx) and the one and only DJ Stingray. Now the label has another surprising addition to its roster: Radio 1 Xtra’s DJ Q, someone who has been producing garage tracks since long before its supposed revival.
As one half of the garage-loving Hot City, it makes sense for DJ Haus to be releasing DJ Q’s All Junglist on his label – in fact it’s almost surprising something like this hasn’t happened before. Initially characterized by drum programming that is, well, junglist, the track is interjected with a beat that is less broken, and more split in half, ripped apart with a tidal wave of woozy bassline action. Combined with the tropical synth melody and hardcore referencing piano you’ve got a track that is classicist yet very much in keeping with the label’s technicolour focus. It’s joined by “Will I Ever Be Free”, which is marked out by a slightly housier touch thanks to a deep string melody that adds a rich contrast to the swooping low end and crunchy snares. It’s a curious mix of bassline garage and Detroit moods, and one that works surprisingly well.
In a landscape increasingly dominated by the broad term “bass”, it’s refreshing to see UTTU release something so genre specific that puts most of the current wave of so-called garage producers to shame. And with DJ Q about to drop another release via on-point label Local Action, it seems like DJ Haus isn’t the only one keen to put real garage and bassline back in the spotlight.
Artist: Canyons Title: Keep Your Dreams Label: Modular Genre: Sleazy house jams, electronic pop Format: Gatefold LP, CD, Digital
Since decamping to Sydney from Perth and launching their own label, Hole In The Sky, Australian duo Canyons (aka Leo Thomson and Ryan Grieve) have put out a heady mixture of spacey, psychedelic disco-tinged house. Although their first releases (which included tracks under the pseudonyms Fred Cherry & The Templates) flew under the radar of most, they did not escape the attention of key tastemakers: the Canyons soon released 12”s on DFA and I’m A Cliché and were snapped up by Aussie indie dance giants Modular for an album deal. Their EP for DFA featured two captivating, sleazy house jams in “Fire Eyes” and “Dancing On Silk”, while “Blue Snakes” appeared on the same Moments Of A Crisis compilation on Cosmo Vitelli’s eagle eyed I’m A Cliché that debuted Azari & III’s now ubiquitous “Hungry (For The Power)”.
It became quickly apparent that the Canyons sound was a diverse one. Tracks like “Busride To The Zoo” and a remix of Tame Impala’s “Half Full Glass Of Wine” emerged from a dense haze of bong smoke, all low slung riffage and, in the case of the former, monkey shrieks; then there were quirky, upbeat moments like “More Champagne” and “Apples & Pears”; “Big City Lights” meanwhile showcased a penchant for starry-eyed downtempo excursions, while “Blue Snakes” was a raw, throbbing slice of techno that found its way onto Agoria’s 2011 Fabric mix. Indeed “Blue Snakes” is the only track that makes it onto their debut album, Keep Your Dreams, and by the time we reach it we’ve already heard a breathless opening two track segue (“Circadia” into “Under A Blue Sky”), a largely successful attempt at daytime radio-friendly/TV sports soundtrack material (“My Rescue”) and the brilliant, Mr Fingers-inspired “See Blind Through”, which features some drunkenly pitched down vocals from Ramona Gonzalez of Nite Jewel. Indeed on the first half of the album, it’s only the somewhat hit-and-miss electro pop of “Sun & Moon” that doesn’t live up to Ryan & Leo’s lofty standards, coming across as a bit too polished.
Two things become apparent as the album drifts towards its conclusion. First, the duo have not shied away from the challenge of working with a range of vocalists, and, second, they have fully indulged a predilection for squealing/smokey (delete where appropriate) saxophone solos. Of the vocal contributions, it’s Gonzalez’s unexpectedly treated effort and “Tonight”, featuring the unmistakable tones of Tame Impala frontman Kevin Parker, which shine brightest. Indeed it’s “Tonight”, with its shimmering guitars, sepia tinted vocals and groggy pop sensibility, existing at the lonely crossroads of commercial success and underground reverence, which provides the neatest summation of what the Canyons are all about.
Artist: D'Marc Cantu Title: Fallen Label: Creme Jak Genre: Jakbeat Format: Limited hand-numbered 2xLP + poster, Digital
If Traxx is Jakbeat’s front-man and Tadd ‘James T Cotton’ Mullinix its maverick genius, what role does D’Marc Cantu play? Unlike Traxx, he isn’t adept at providing controversial sound bites and, leaving aside his collaborations with both Mullinix and Traxx, he’s not as prolific as Mullinix, putting out just six solo EPs over the past five years.
But listening to Fallen, it is clear that Cantu embodies all of what Jak is about. There are eerie, synth-led grooves like “Transmogrification” and the title track, where the typical jacking approach is replaced by tumbling drums and hypnotic pulses. Then there are the more visceral jams like “Stand Up” and “Oh My”, which consist of solely of tonal bleeps and splurging, distorted basslines, the kind of aggressive workouts that feature in Traxx’s sets – albeit pushed up into the red.
In other places, Cantu returns to the genesis of Chicago house music, and some of the tracks have a basic, primal feeling. In particular, “I Want to Ride” and “Shoot the Fish” are built on not much more than a pulsing bass, tinny percussion and dank drums, but the end result is a powerful one, like Ron Hardy at his most freaked out.
But Cantu’s flirtations with the over-ground leave the most lasting impressions here. “The Power” is strangely catchy as a muffled vocal is fused with a gurgling acid line, “A New Night” has a gloriously reflective sense of melancholia and “Say It & It’s Time” sees Cantu fuse dramatic synth sweeps with a pulsing electro bassline. He may have been Jakbeat’s backroom boy, but Fallen casts him as its prince-in-waiting.
Richard Brophy
Tracklisting:
Side 1:
1. Transmogrification
2. Fallen
3. The Power
Side 2:
1. Stand Up
2. Oh My
Side 3:
1. A New Night
2. I Want To Ride
3. Shoot The Fish
Artist: Awanto 3 / Makam / Lone Title: Anniversary Series Part 2 Label: Dekmantel Genre: Woozy, organic house Format: Yellow 12", Digital
Compared to the voluminous rate at which some labels proffer forth their wares (not least in the age of digital-only singles and the like), in five years Dekmantel haven’t over-done it by any stretch of the imagination. Before this celebratory series commenced with the first instalment from Juju & Jordash and Morphosis, just eight releases had borne the Amsterdam-based label’s particular brand of woozy, organic house music.
The age old adage of ‘less is more’ rings true though, as each 12” carries with it a unique school of thought where the roots of soul and funk that informed the birth of disco rein supreme. In that sense the label shares some parallels with their close neighbours Rush Hour, yet where Rush Hour have spread themselves wide and carry a more polished sheen, Dekmantel tracks tend to be a touch more scuffed and raw.
Having said that, Awanto3’s twelve-minute dreamathon “Pregnant” (a title borne from that wry tendency to loop a vocal sample until it sounds like they are saying something else) is a damn smooth affair. Much like on his Alfabet tracks with Tom Trago, sumptuous keys of a moody blue nature provide the main refrain while the beat thumps away on a disco tip. It’s a simple track and it probably doesn’t need to be as long as it is, but that doesn’t make it any less blissful to get drawn into.
Makam’s offering is somewhat more contentious from the moment the intro kicks in on an abstract melee of loopy clips in that style that made The Mole notorious some years back. Shortly after that the real track reveals itself in a straight-up lift from an as yet unplaced disco-funk track. It’s pure upbeat tones all round, not least in the soaring Philly strings and jolly flute decoration.
That leaves it to Lone to round off proceedings with his dreamy cut. The disco influence is still in full effect where often the Nottingham-based producer belies his love of UK rave culture, but the thrill is in the way he brings his knack for warbling and colourful synth lines into a steady 4/4 groove. While this part of the compilation series may not be wholly representative of the typically renegade Dekmantel sound, all three tracks stand strong in their own right and provide much funky fodder for those wishing to add a little strongly-rooted soul to their collection.
Oli Warwick
Tracklisting:
A1. Awanto3 – Pregnant
B1. Makam – Good To You
B2. Lone – Risttowe
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