The first point to make about the production moniker of Australian duo Carter Bros is that they actually are siblings. A small point, perhaps, but it’s a reminder that with Tim and Gavin, what you see is what you get; these two are as far removed from the archetypal superstar DJ as it’s possible to be. Down to earth, with little interest in hustling or self promotion, the duo’s star has risen purely off the back of their consistently high quality house and techno productions.
The pair originally hail from Mildura, a small country town in regional Victoria with a population of 30,000. They now reside in Adelaide, the South Australian capital with a small but proud heritage of discerning electronic music. After working in relative anonymity for a number of years (their first two albums were self released and the third came out on Adelaide label Cuckoo Music), in 2011 they saw their work being appreciated across the globe. The first international label to spot the Carter Bros was Dutch imprint Rush Hour, who released the Full Disco Jacket 12″ last year. They were followed by Detroit’s Monty Luke – long time right hand of Carl Craig at Planet E – who chose the Carter Bros for the second release on his fledgling Black Catalogue imprint. We sent our Australian scribe, James Manning, down to Adelaide to speak to Tim and Gavin about the links between skateboarding and techno, cats, and the perils of Soundcloud promotion.
The small Australian town of Mildura probably doesn’t rate on any lists of global disco hotbeds, yet it was here that the Carter Brothers story began, in the dusty farmland of regional Victoria. Upon relocating to Adelaide, South Australia, Gavin and Tim released an album on local imprint Cuckoo Music (2009′s Metropolitan) before falling under the global gaze of Dutch imprint Rush Hour, who subsequently snapped up the duo’s latest single “Full Disco Jacket”. Those who have heard the tracks on Metropolitan will be well aware of the Carter Bros style – analogue grooves ridden with aplomb from start to finish. While some producers like to take tracks on two or three tangents, these guys pick a simple-but-addictive loop and nail it.
There’s not much to either the original or the dub version, but to use this as a basis for criticism is to miss the point entirely. In this respect “Full Disco Jacket” brings to mind the best stripped back house tracks, like Kerri Chandler’s “Bar A Thym” – because what it does, it does brilliantly: locking into a filtered loop and driving it along for the track’s duration, with uplifting synth sweeps and deliciously addictive brass arrangements. The dub version keeps the same catchy hook and buries it beneath a tougher kick, with some shakers brought to the fore, again adhering to the ‘simple but effective’ school of thought. British producer Nebraska meanwhile does a sterling job on remix duties, chopping up the beat and adding occasional vocal snippets, extra layers of percussion and slightly comical brass farts, thus succeeding in presenting a viable alternative to the two original cuts.
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