Review: These days New York's underground electronic music scene is stronger than ever (though residents may argue otherwise). Chief among these has been Mister Saturday Night, a party built on the forthright musical opinions and fearsomely eclectic vision of resident DJs Eamon Harkin and Justin Carter. It's perhaps unsurprising, then, that they've chosen this moment to join the likes of Tim Sweeney, Eric Duncan, Runaway, Roy Dank and the Let's Play House crew in launching their own label. What's more surprising, perhaps, is their choice of artist for the first release. Next to no one knows anything about Anthony Naples. Whoever he is, Harkin and Carter have shown great vision in signing him up. Mad Disrespect is an impressive debut; a cracking EP that neatly sidesteps convention and delivers house tracks brimming with ideas. It's adventurous and innovative, but never shies away from its main purpose: making people dance. Highly recommended!
Review: Considering they are only a year into their releasing life, Archie Pelago sound like a full-bodied outfit that have been in the game for years. Surfacing on the equally fledgling Mister Saturday Night imprint, this three track EP moves between warm, dancing-friendly stomp and dislocated ambience, all rendered through a canny sampling, treatment, but most importantly playing of organic instrumentation. Sax, cello and trumpet work their way into crackly beats, finding the most tangible groove on "Brown Oxford" thanks to a crisp double bass but in more esoteric climes on "Alice". "Frederyk Swerl" spreads itself with an elongated excursion into shapeless flutters and scribbles of jazzed-out expressions that suit the talents of the three-piece perfectly.
Review: Ever spreading their wings and snapping up labels left right and centre, Dark Sky move on from their recent turn for Tectonic to deliver a release for Mister Saturday Night that applies their complex and engaging approach to housier domains. First track "In Brackets" is a refined beast, tapping into the spiritual vein of artists like DJ Qu but employing a richer tapestry of sounds to intone the mystery. "5AM" by comparison is a much snappier proposition, sporting a vintage garage beat and cheeky trills of synth, while "Voices" burrows into a plethora of vocal micro-samples with purpose and a lot of layering. "Rare Bloom" rounds the EP off in stunning fashion with a measured roller that keeps the beat ticking steadily so that accomplished swells of synth can draw you in on a bold and thrilling journey of a track.
Review: Together with Justin Carter, Eamon Harkin is one half of the respected Mister Saturday Night DJ duo, party organisers and most recently the brains behind the label of the same name. While he has a relatively small catalogue, this release shows that Harkin has progressed since his early days. The title track resounds to a searing acid line and an insistent synth line as an unnamed male vocalist lays down a breathy vocal. On "Easily Amused", frosty, chiming synths and hissing percussion come together to create a deeper techno sound. As a statement of his production skills go, it's an impressive one.
Review: Eamon Harkin is better known as one half of New York City clubbing institution Mister Saturday Night and runs the well-received label of the same name. On the Untethered EP be prepared for the dusty analogue deep house of "Are You Listening", or the deeply emotive title track with its evocative pads and rich vintage synth textures taking you where you need to go in style. Then what is the EP's most lively moment "Good Manners" where Harkin goes for some soulful techno flavour with its tough rhythms and entrancing chord progressions fuelled by a funky groove.
Review: To celebrate 250 parties, Eamon Harkin and Justin Carter, the residents at and organisers of Mister Saturday Night, have put together this wonderful compilation. It starts with the offbeat folk of Menelik Wossenatchu's "Tezeta" and the glorious, soulful disco of Soul Bros Inc's "Pyramid". The compilation veers back towards electronic sounds on the stripped back deep house of ESB's "On Cue" and the bleepy "Aches" from Baba Stiltz. FaltyDL's "Hardcourage" bridges the gap between the abstract and dance-floor structures, Marcellus Pittman drops the acid-soaked Detroit house of "There's Somebody Out There" and Kerrier District delivers the lush electronic disco of "Let's Dance and Freak".Then & Now is a wide-eyed, freewheeling compilation that captures the long-running New York party's essence.
Review: Having started his career by playing keys in Underground Resistance offshoot Galazy 2 Galaxy, it would be fair to say that Esteban Adame has impeccable techno credentials. These days, though, his output tends more towards deep house, as this fine EP for Mister Saturday Night proves. Check, for example, the jazzy bassline, skipping U.S garage style beats and bubbly electronics that sprint from the speakers throughout opener "Momma Knows", or the crunchy, distorted drums, breezy Latin piano motifs and undulating vibraphone solos that mark out title track "Mayan Basement". As for closer "Open House Memories", it sounds like a half-remembered memory of an organ-driven deep techno party from the late 1990s (which, to be fair, is a very good thing in our world).
Review: Mister Saturday Night take it to the disco with this riotous release from Glasgow based pairing General Ludd. Whilst the name may be new to you, the duo behind General Ludd should be familiar with Tom Marshallsay widely regarded for his work as Dam Mantle and Rich McMaster part of the excellent Optimo Music act Golden Teacher. Apparently General Ludd began with the pair working on interactive sound installations, before moving into fully fledged productions and their debut release is a real slammer. Lead track "Woo Ha" is the sort of cut DJs every where will embrace as a tool for causing optimum dancefloor mayhem, a crushing array of orgiastic vocal samples, deep bass lines, rickety snares and drums subjected to expert delay. "Brothers & Sisters" offers a more reserved B Side and is perfect for those on warm up duties. More of this General Ludd!
Review: Glaswegian house dabbler General Ludd is back on New York City's Mister Saturday Night with a new EP, and it couldn't have come faster - we love the stuff that this guy makes. Not unlike his previous efforts, "Are You Losing My Hearing?" is a roughneck house sketch boasting a wonky percussive groove, gorgeous flurries of organic instrumentation and all the electronic oddity you could possibly fit into a club tune. "Moneychangers" is tamer in its structure but more penetrating on the dancefloor, where dusty drums and metallic hi-hats fold into a tidy house cut with a sinister, twisted edge.
Review: General Ludd is the stage name for Rich McMaster and Tom Marshallsay and Sunset Yellow is their third release on Mr Saturday Night. In keeping with the general tone and direction of the label, they offer house music with an offbeat twist. The title track fuses a stepping rhythm and broken beats with an insistent melodic stab that gets increasingly high-pitched as the arrangement unfolds. "Brilliant Blue" is more stripped back and revolves around a rudimentary bass, hollowed out drums and the occasional cosmic squiggle. Maintaining the offbeat approach to the end is "Amaranth'; with its heavy percussive bursts, dub effects and lunging rhythm it's the most dance floor-focused track on the release.
Review: Having surprised a few with the far-out nature of his thrillingly ambient Let One Hundred Flowers Bloom release on Mister Saturday Night, Gunnar Haslam returns to dancefloor pastures with this follow-up for the esteemed NYC imprint. Opener "Poshlost" is trippy and melancholic, with dusty, dub techno-influenced chords ricocheting around a delay-laden sound-space, underpinned by a simple-but-effective rhythm. "Margareten" ups the intensity, with ragged acid lines and a relentless techno groove providing contrast to the deepness of his chords. Finally, "Replacement" sits somewhere between the two tracks, with rolling techno chords, fuzzy textures, gently building melodies and fizzing percussion creating a rush-inducing mood.
Review: Brooklyn's Mister Saturday Night has been in operation for little over a year, and in that time that confounded all expectations with their varied roster and ability to uncover fresh new talent. Locally sourced Hank Jackson is the latest such producer, arriving with a rough and ready sound which sounds ever rawer than Anthony Naples' Moscato offering, referencing the kinds of sounds coming from L.I.E.S. and Opal Tapes. Lead track "Deposit" sees mucky acid-style synths buried under a built-up layer of grit, held together with little more than an insistent cowbell, while "Cole's Lullaby" is even more left of centre, consisting of little more than experimental synth tones forced through cheap distortion. "Shave" offers possibly the straightest track here, but it's still got the kind of kick drum driving its combination of thrift store percussion and rabid synths that Delroy Edwards would be jealous of.
Review: Tokyo's Jun Kamoda is the latest artist to join the ever-expanding Mister Saturday Night family. The Japanese producer was invited to contribute to Eamon Harkin and Justin Carter's label after partying with the duo in New York last year. There's much to admire on The Clay EP, starting with the driving-but-wonky, hard-to-describe madness of "Physical Grafiti" (think bombastic, chopped-up disco loops, restless electronics, rubbery bass, layered handclaps and delay-laden vocal snippets). He moves towards Aunti Flo territory on the pulsating, jackin' Afro-house sweatiness of "The Clay", before closing proceedings with some more cosmic, disco-not-disco-meets-house action (the looped vocal yelps, tight beats and distorted samples of "Excitus"). Utterly bonkers, all told, but all the more brilliant for it.
Review: Somewhat surprisingly, this is prolific producer Keita Sano's first outing on Mister Saturday Night for two years. While his first EP for the label, 2014's People Are Changing, was a distorted, all-or-nothing techno affair, Explosion sees him diving deep into the world of disco-house. The stretched-out title track is something of a sweaty, four-to-the-floor, loop-based disco smasher, with Sano wisely using a pair of stretched-out, filtered vocal breakdowns to build energy before unleashing the killer groove. Flipside "Life Has Changed" is similarly epic, but takes a sparkly, deep house tinged approach, with cut-up excerpts from a well-known George Benson classic being peppered with wide-eyed electronics and occasional vocal chants.
Review: There's a pleasant story behind this release from Mister Saturday Night, with Okayama based musician Keita Sano discovering the label's releases in the vinyl bins of his local record shop and inspired by the music was moved to produce and send Eamon and Justin a clutch of tracks. The three cuts chosen from his submissions for this People Are Changing are far removed from the glitchy, instrumental hip hop that made up Sano's Jewels EP for London label Keep Up! late last year but this only suggests a degree of strength regarding his production prowess. The title track is equal parts high octane and unhinged and really this latter aspect remains a key component of Sano's subsequent productions, with the electrically charged "She Was The One" a particular highlight.
Review: Now established as a record label with a knack for uncovering club ready material, Justin Carter and Eamon Harkin's Mr Saturday Night introduce Irish producer Lumigraph. Followers of Opal Tapes output this year will no doubt fondly recall the Dublin based producer's nautically themed LP and as with previous MSN releases, Lumigraph betrays inherent links with Carter and Harkin, having lived in NYC during the summer of 2012 and been a regular attendee at their parties and forged a friendship that has resulted in The Yacht Cruiser EP. Like the label's recent releases from Hank Jackson and breakout pizza addict Anthony Naples, the four tracks here veer towards the lo-fi edge of the house and techno spectrum; the synths interrupting the relentless kick of "Cape Horn" sound particularly crusty and abstracted, though the dreamier house tones of the title track and "Small Doses" show him to have a sedate outlook also.
But It Really Didn't Matter What It Was - (6:39) 126 BPM
I Won't Forget You - (4:59) 123 BPM
Review: Melja is a young artist who makes his vinyl debut on Mister Saturday Night after putting out digital releases on labels like Car Crash Set and Hot N Heavy. For this release the New York label has exhumed from Melja three cuts of bottom-end heavy, lo-fi and distorted techno music that will beef up a house set or nestle into a rhythm section of a long haul techno session. "I Won't Forget" is the heaviest, industrial track on this release while "Steady Mobbin" is body rhythmic, but with out the slam and assault you might hear from say, Token.
Review: Anthony Naples pays no (mad) disrespect to Shed or gritty '90s retrospective house and techno music with his Moscato EP, the Brooklyn resident's second release for local party come label Mister Saturday Night. "Moscato" combines the snow capped hats of WK7's "The Avalanche" with the grounded down piano stabs of Head High's "It's A Power Thing" and the rolling motion of Alden Tyrell's "Rush" from Clone's Basement Series. "Moscato" is essentially a mirror image of the first track, only Naples tones down the techno elements by resigning his Shed-esque stabs to the background, bringing soothing house driven Rhodes to the fore. With a release for The Trilogy Tapes on the way Naples looks like proving last year's debut release was no fluke.
Review: Having started the year with a mix CD and two samplers celebrating their roots as an acclaimed New York party, Mister Saturday Night returns to the business of building up the label's already impressive catalogue. This time, former Rush Hour associate Nebraska is at the controls. Stand Your Ground is unwaveringly positive throughout, delivering a range of cheery, dancefloor-focused cuts. There's some deliciously summery deep house in the shape of "Little Chan" (check out the superb pianos and acid tweaks), while "The Stoop" is a low-slung chugger built around killer jazz samples. The slower "Stand Your Ground" is nothing less than a slow-motion rush - all positive electronics and twittering melodies - while closer "Emotional Rescue" is a horn-toting romp through peaktime disco house.
Review: Ali "Nebraska" Gibbs last outing on Mister Saturday Night, 2015's Stand Your Ground, saw the producer treating listeners to a quartet of tracks that touched on a multitude of house styles. This follow-up has a similar feel. He begins with the loose-but-bold drums, electric piano solos, disco strings and occasional punchy horns of "Done My Best", before dropping down into slower, deeper, dub-tinged territory via the toasty electric bass, stretched-out chords, mid-tempo grooves and pitched-down horns of "Look What You've Done To Me". He rounds off another fine outing with "S.O.S Dub", a crackling, unfeasibly atmospheric journey through dub house grooves, fluttering chords and creepy electronics.
Review: The Mister Saturday Night crew is rather excited about this EP from Manchester producer Olsen, who already has releases on Perfect Motion, Super and Tinted to his name. They describe it as "melodic, dreamy and understated", and we tend to agree. You'll struggle to find a deeper or more seductive chunk of electronic deep house melancholy than pulsating closer "Sister Midnight", while the impeccable "No One Belongs Here More Than You" sounds like Floating Points jamming at sunrise on a Croatian beach after a tiring and emotional night out. The influence of Sam Shepheard can be heard elsewhere on the EP, too, with opener "Feminine" - all yearning pianos, eyes-closed electronics and crunchy drum machine percussion - standing out.
Review: Brooklyn trio Archie Pelago has always been one of Mister Saturday Night's more intriguing acts, with a sound that expertly blends live playing (trumpet, cello, sax), with analogue and digital electronics. While it would be incorrect to say that their tunes - think jazz, disco, Latin, soul, funk and house melded together - ape the work of Arthur Russell and Dinosaur L, but they're certainly in a similar ballpark. This latest single for Harkin and Carter's lauded imprint is another impressive outing. Choose between the Konk-meets-Floating Points-in-Brazil warmth of "Clammy Customer", and "Madame Suede Nightshade", a choppier and chunkier house excursion that makes great use of heavily edited samples, flowery chords and darting chords. Excellent stuff, as always.
Review: With his classical training and day job as a professional vibraphonist, comparisons between Will Shore and previous New York dance music mavericks - most notably Arthur Russell and Kelley Polar - are natural. Certainly, he draws on NYC's fine tradition of genre-bending and far-sighted experimentation on this debut EP for Mister Saturday Night. Vibraphone-heavy opener "A Hundred Times", which pays tribute to legendary minimalist composer Steve Reich before building in intensity, is little short of brilliant. House DJs will naturally be drawn towards the lilting, vibraphone-laden deep house shuffle of early morning classic-in-waiting "The Translator", while similarly rhythmic closer "Components" is a woozy and dubbed-out chunk of mind-altering house exotica.
Review: We are here treated to a really cool project from Taphari, who joins forces with the Mister Saturday Night imprint across five tracks of experimental rap creation, kicking off with the 808 driven sub rolls and skippy percussive stylings of 'Stingy'. Next, the luscious, retro soundscaping of 'Suit Up' takes us down memory lane before 'Tell Me How' turns up the tempo drastically with it's grinding bass tones and skippy drum textures. To follow, 'Focus' alongside SixPress provides us with some internal funky energy, before the spacey energies of 'Temper' put the finishing touches on a very forward thinking body of work from Taphari.