Review: Wurst's evolution from disco edit imprint to a platform for original material from some of NYCs finest continues apace here with this debut EP from Great Weekend.
Last seen on the 2005 Prince Language BBE comp Real Music For Real People, Great Weekend is the side project of Anthony Khan, nephew of Chaka and sometime producer for Common. "It's Now" and "That's Where It's At" offer two alternate takes on the same infectious bouncey house groove with splendid synths. "It's Now" features the debut vocal appearance of one Justin Carter, long term fixture as a DJ on the Brooklyn warehouse party scene and possessor of quite the sultry R&B croon. "That's Where It's At" calls out the great and the good of NYC nightlife that's very much in the vein of block party rockers like Frankie Smith's "Double Dutch Bus". Instrumental and dub versions are also available for those that don't like the sound of the human voice.
Review: New York's Neurotic Drum Band open up their recent (and perfectly titled) "Robotic Hypnotic Adventure" to a trio of classy remixes. Fellow New Yorker Abu Duque, who's worked with names like Blake Baxter and Richard Dorfmeister in the past, channels his techno roots into this more disco-shaped mix by keeping the bass deep and powerful and adding plenty of huge dynamic builds, all built around the original's warped piano parts. The Runaway mix keeps things more blissful and Balearic, while Harkin and Raney add some deep and dark strings to their mix - a pleasing counterpoint to the original's old-school piano-house vibe. Yet another great release from Wurst.
Review: As debut EPs go, this three-tracker from new Wurst signings Orthy is remarkable. Variously coming on like a shoegazing version of Benoit & Sergio, a slacker take on DFA and a gorgeously emotional re-imagining of Smile-era Beach Boys, Orthy make eyes-wide-shut music that blends a laidback pop sensibility with smart dancefloor chops. It's the kind of music you'd like to listen to when the sun's coming up, but it feels equally at home on a dark and drizzly afternoon. There's something almost weirdly gothic about the supremely Balearic "Don't Believe", while lead cut "Suenos" is like some lost alt-pop classic - all echo-laden harmonies, brilliant melodies and pulsing electronic shuffle. Highly recommended.
Review: A debut on Wurst for New York techno legend Reade Truth, having released many much-loved tracks on Strictly Rhythm, Pomelo and Planet E. "Let's Go To Heaven" is deep and dubby, using vintage vocal samples to flicker across the mix while it builds under a weight of synth strings. It's a slow burner, but when it unravels in full it's a devastating delight. "Folie A Deux" is a more immediate and more pumping tune, with some gloriously gonzoid stutter-synths, while Brennan Green works magic with his mix of the title track, cheekily titled "Let's Go To New York Instead".
Review: In the space of two years Wurst Music has emerged as a label with a blossoming reputation - one that should be considered as much a part of New York's musical landscape as DFA, Environ or Slow To Speak. To showcase the label's credentials, Roy Dank has put together The Wurst Music Ever, a cheekily titled collection of previously unreleased cuts from label stalwarts, new signings and like-minded friends. With 10 tracks covering every aspect of the label's musical approach - vaguely Balearic nu-disco, underground NYC house, disco revivalism and heavy electronic grooves all feature - it's a thrilling snapshot of where the label is at right now Highlights are naturally plentiful. Newcomers Pink Stallone impress with "Help Yourself", a low-end heavy chunk of slo-mo contemporary P-funk that's dirtier than a night in with Prince and a bevy of bikini-clad beauties. Hometown heroes Midnight Magic provide a stunning cover of Native Underground's "Push 4 Love" that recasts the freestyle-tinged original as a loose, dubwise disco gem. Tiago channels the ghost of Patrick Cowley on the Munich Machine-aping "Peanuts", whilst Soho 808 (another promising newcomer) and Great Weekend throw down future house anthems. If The Wurst Music Ever is an indication of what we can expect in the future from Dank's label, it seems the Best of the Wurst is yet to come.
