The Asphodells, aka Andrew Weatherall and Timothy J. Fairplay, pimp ‘200’ by Baris K into some sort of transcendental accompaniment to a parallel universe Turkish Delight ad. This is distilled Convenanza. Understated, layered and mystical. If you’re out and about, stick this on.
This track came out yesterday I think so, as it’s been a while, I made good use of Bandcamp Friday and bought the EP. This is the pick of the bunch because it drives that little bit more and uses bongoes, keys and a subtle spoken phrase to help it along. These motifs are important and underrated. More to the point, Federsen is a great producer and Syncrophone is one of the most vital labels in recognising and releasing underground tunes that span a depth spectrum wider than the Mariana Trench.
Great record win which each separate element seems to be doing its own thing, yet everything falls together. The 303 is probably the dominant element, but the portentous synth swirls heighten the drama and eventually come to dominate just as much. There’s a feeling of collision on this track, between the past and the present. The old and the modern. Adapta was, I think, Bitstream straight outta Northampton Not too far away from where I’m typing these words as the crow flies. Amazing music. When will there be more?
A massive track on the 90s South London/Croydon tech house warehouse axis. Stacey Pullen was one of the premium remixers around this time, even if he didn’t do that many 9quality over quantity for sure). After Silent Phase he didn’t do that much under his own name anyway. However, what he did do is memorable. This remix interweaves at least three percussive motifs with an undulating low end synth as well as high end melodic squeaks. Sounds shite? Well it’s ace. I saw him DJ twice. Once at The Rex inn Paris, and at Space at Bar Rhumba. Amazing both times.