Review: Californian techno legend John Tejada is back with a new release on his esteemed Palette imprint. It is a homage to the sample heavy production style of the late '90s, where Tejada has stated that the tracks succeed in limiting the options just creating and manipulating a batch of samples is my happy place'. "Moving 909's" is a seductive expression in deep, late night techno. It then receives a hypnotic rework of the Warp affiliated IDM legends Plaid, who typically take things into advanced and off-kilter realms. Final offering "Infinity Room'' is an upbeat and funky affair, featuring an infectious slap bass and subtle dub techno motifs that are all quite reminiscent of his previous work on labels like Poker Flat and Dessous.
Review: American techno legend John Tejada returns on his revered Palette imprint with Performance Review His next one follows up last year's terrific Dead Start Program LP on Kompakt. Each track on here highlights Tejada's artful approach to crafting grooves that blend deep origins with soulful new ground. From the emotive deep techno of the title track delivered in his idiosyncratic style as always, "Promo Committee" sees him do sultry deep house as heard on labels like Poker Flat over the years and even a bit of dark and subterranean dub techno for good measure on "Stack Rating" - this is classic John Tejada all the way!
Review: To celebrate their 22nd anniversary, Palette Recordings presents its first release in two years from label chief John Tejada. Live Rytm Trax was recently conceived as his new live PA, focusing on just one machine (the Elektron Analog Rytm) and making the most out of its limitations. He performed and captured this wonderful selection of tracks in fellow Los Angeleno Kenny Larkin's studio, which provided the perfect opportunity to add a special sound signature to the songs. Here he relied less on modern computer sequencing methods to capture the spontaneity of the pieces live. The result is a real time and organic experience, with Tejada performing the tracks live with no overdubs or editing.
Review: Veteran Los Angeleno producer John Tejada unveils his thirteenth Studio Album entitled Dead Start Program. He named it after a system that started an iconic 1960s supercomputer called the CDC 6600, which is used to represent a 'metaphorical reboot from the challenges life throws at you'. Moreover he's said to have used a 'limited studio setup' to create the 11 tracks on offer. From the moody and disjointed hypnotica of opening track "Autoseek", the old-school west coast breaks of "Sleep Spindle" to the brooding smack electro of "Loss" or the bouncy dancefloor euphoria of "The Looping Generation" - which is indeed classic Tejada all the way! The album comes courtesy of Cologne institution Kompakt: an imprint he's had strong rapport with since 2011. Tejada celebrated his own esteemed label's two decades in the business on the retrospective Palette Recordings 20 (The Early Years) ?back in 2016. Although mainly a vessel for his own work, it has also birthed several collaborations with longtime colleagues Arian Leviste and Justin Maxwell.
Sweat (On The Walls) (Franky Rizardo remix) - (6:51) 125 BPM
Sweat (On The Walls) (Laolu remix) - (8:00) 122 BPM
Sweat (On The Walls) (Sebo K remix) - (6:42) 125 BPM
Sweat (On The Walls) - (5:49) 127 BPM
Review: Los Angeles techno legend John Tejada released the tech house anthem "Sweat" (On The Walls) back in 2004 on Poker Flat and its success has been enduring - it is one of those tracks you still hear getting played to this day and it always gets a great reaction from the crowd. To prove this track is as relevant as ever and hasn't dated, we've got powerhouse Defected giving it a much welcomed reissue and a bunch of worthy remixes that give the track a modern revision. Dutchman Franky Rizardo gives it a respectful remix that stays true to the original but gives it a different dynamic for today's crowds while Laolu's version was quite interesting: here it takes Qzen's vocal from the original over a deep progressive house groove. It also comes with the 'much slept on' remix by the Mobilee affiliated Sebo K which came with the original 13 years ago.
Review: "Ceol" is the Gaelic word for "music", and it's an apt name for a John Tejada release. Over the past 20 years, the LA resident has brought an individualistic, melodic flavour to techno and this record is no exception. The title track sees him bring together ringing bells and snappy percussion over a warm, squelchy bass. The addition of airy synths serves to further validate the name Tejada chose for the arrangement. "Prelude to Madness" sees him opt for a similar, albeit darker approach, as an elastic bass unravels against the backdrop of insistent hi hats and steely drums. However, Tejada never strays too far from melodic sounds and closing track "Aisling" is an understated affair, full of shiny hooks.
Review: Los Angeleno techno legend John Tejada has just celebrated 20 years of his famed Palette Recordings and is still in fine form on the Therapy EP. Deep techno on the housier side with a generous serving of soul throughout and it is apparent here. The melodic, Rhythim Is Rhythim inspired first wave funk on "Therapy 2" had us movin' and groovin', as did the dusty warehouse jack of "Therapy 3" which explores the same territory as Rene Pawlowitz. Finally, for something much mellower there's the soothing deep house tones on "Therapy 4" which has earned him releases on labels like Slices Of Life and Kompakt.
Review: House DJs MYNC offer an exhaustive overview of the tracks that rocked the long-running White Island venue this summer. In the soulful corner, there's the Maxi Soundsystem take on Boris Dlugosch's "Look Around You". Featuring Roisin Murphy on vocals, it does a lot to sweep away the rainy autumn blues. Ten Walls deliver the trancey goods in the shape of "Gotham", which revolves around a belching bassline, but the most notable aspect of Ibiza 2013 is the way minimal producers have come into the house fold. Loco Dice borrows a prog house bassline for 'Detox' and Luciano's "Rise Of The Angel" - remixed here by Andrea Oliva - is a piano-led, wide eyed deep anthem.
Review: Signs Under Test is the 12th album released by John Tejada since his emergence in the late '90s, putting aside the various other projects he's been involved with, this alone is the kind of fact you have to applaud. Arriving some two-and-a-bit years on from The Predicting Machine, this album naturally surfaces via Kompakt and it's 11 tracks suggest Tejada's creative powers remain undimmed despite his vintage. Apparently built from the ground up using hardware synths, Signs Under Test succeeds as Tejada doesn't feel the need to cater to any particular musical trend, instead relying on his tools and his talent to deliver a rich and rewarding listen.
Review: Described by Kompakt as "a somnambulistic two-tracker that delivers more bang for the buck", John Tejada returns to the Cologne label with a new single primed for the dancefloor. We Can Pretend shows the LA-based Tejada might be looking to apply the new found interest in modular synthesis shown on his 2012 LP The Predicting Machine to the muscular techno he's founded his reputation on. Taking the form of two vocal tracks, one featuring former collaborator Kimi Recor and the other Morgan Alexander, the abiding feeling you get from the title track is 'perhaps this is what James Holden and John Talabot collaborating would sound like?'. There's a subtle poppishness to "We Can Pretend" that doesn't detract from the masterful sequencing, whilst "Now We're Here" is Tejada in classicist pumping US house mode.
Review: Mr. Tejada returns to Kompakt with a solid two-tracker and one which will undoubtedly be rinsed heavily this summer. The man is capable of creating some seriously enticing house grooves, never afraid of trying something new and incorporating more commercial tones together with strange, psychotic melodies. "Somewhere" lies between the vast terrain between house and electro, where its progressive drum patterns merge effortlessly with fuzzy electro basslines and flickering background melodies. "Elsewhere" meanwhile is a more lo-fi jam, where Tejada really shines through and shows us what he's good at: memorable house excursions packed with enough funk to have us all lost in a whirlpool of bouncy synths and gnarly percussion shots.
Review: Like Petar Dundov, John Tejada is one of the few techno producers capable of making trancey music that never sounds cheesy. However, The Predicting Machine starts with a surprise, namely the pared back, acid-soaked minimalism of "Orbiter", before it launches into the irresistible melodies and lithe break beats of "A Familiar Mood" and the sugar-sweet hooks of "An Ounce of Perception". It's not all upbeat melodies though and both "Winter Skies" and the beatless "Radio Channel" are decidedly melancholic, in particular the gloomy textures on the latter track. Despite this, it is impossible to avoid his intuitive sense of melody and both "Glaringly Happy" and "When All Around is Madness" are classic Tejada tracks, albeit ones that pass through a filter that includes Plaid and 90s intelligent techno at its sweetest.
Review: LA producer John Tejada has always been a consistent artist, but "Condition" is one of his most memorable releases in the past few years. Instead of focusing his efforts on intricate sound design, Tejada has decided this time to play solely to his greatest strength - his sense of melody. The title track is based on a purring melancholic bass that builds gently yet which contains a hint of menace, like "Snivilisation"-period Orbital in techno mode. However, it's "The Living Night" which really impresses: over a rolling yet more understated bass, its mournful, trancey hooks build and ebb in that effortless manner that only Tejada is capable of.