Saturday, October 26, 2024
Wednesday, October 23, 2024
Shjva - Metazone (Viscera Transmissions)
Title: Metazone
Artist: Shjva
Label: (Viscera Transmissions)
Cat Number: VTD002
Genre: Trance Induction
1: Metazone
2: Polycaste
3: You Must Let It Go
4: Metazone (Eversines Remix)
Trance comes in many forms so like house I suppose it’s a feeling. And Shjva definitely gets it. Specialising in the deeper reaches of the genre, she explores it’s more interesting parts; where it collides with distant worlds and tempos. I may be trying to fit square pegs into round holes here, but in spite of the tones and textures being generally recognisable, there is more than one undercurrent flowing within these tunes that throws them all a little off-kilter. After the title track it’s all downhill, with the synths in overdrive. We never go full on Juno Reactor though, even though there are plenty of opportunities. What I really like about this EP, therefore, is its restraint, maturity and subtle hooks throughout. It’s trance Jim, but it doesn’t go the whole hog. There’s a healthy funk presence in there, something that allows it to flourish beyond its recognised confines.
Monday, October 21, 2024
Track Of The Day: Afro Cube - Muevete Mama (Broder Mix) (Strictly Rhythm)
First heard on ‘Evil’ Eddie Richards’ brilliant Essential Mix. A mix that defined the real sound of tech house; ie: playing anything we like at a specific tempo that generally fits into the house or techno template regardless of origin, back in 1995, ‘Muevete Mama’ is another from the underground hit factory that was Murk, (in this case a solo effort from Oscar Gaetan), and came at a time when latin house was definitely on the rise. There’s really not much to this track and compared to a lot of murk’s more famous tracks, it feels a little lite. It does the trick though. The percussion and the spoken word ushering it in, and then the bass comes in . . . even the horns sound good on it. You’re not standing still to this.
Voltaire -[QR]D.292.VOL1.24 (COD3 QR)
Title: [QR]D.292.VOL1.24
Artist: Voltaire
Label: COD3 QR
Cat Number: QRD292VOL124
Genre: Dark Electronic Mood Setters
1: Moment
2: Dance!
3: Connection Lost
The latest release on Laurent Garnier’s relatively faceless COD3 QR label comes from Voltaire, somebody who apparently operates outside the more traditional French electronic music milieu. He has an album, ‘Echoes’ slated for release next year and the three tracks on this release are a little taster for it. ‘Moment’ is a minimal, sinister builder with spoken word vocals across the top. It sort of recalls a little bit of the darker aspects of Chicago house/Murk mixed with a more reflective take. It’s over before it’s begun and would benefit with an extra couple of minutes to emphasise its seedier side. ‘Dance!’ does feel like an extension of ‘Moment’, in that the latter’s crescendo is built upon, thus creating a sense of progression. Maybe this was the plan all along? Both tracks have a similar mood at play. There’s some nice, robust synth work here that pushes it into the realms of goth funk, or something like that. ‘Connection Lost’ stands a little bit aside in that it’s an electro track, but one that veers into emotive, symphonic territory. It ebbs and flows which is crucial for its momentum and effect. An interesting and intriguing release which makes one wonder what direction the album will take.
Wave Arising - (The) Rooted Sky (Remixes) (Ransom Note)
Title: (The) Rooted Sky Remixes
Artist: Wave Arising
Label: Ransom Note
Cat Number: R$N42R
Genre: Techno/Ambient Moods
1: Subconscious (Azu Tiwaline Remix)
2: Electric Shrine (Davis Galvin Remix)
3: It Comes And Goes (Flug 8 Remix)
4: Monin Yiri (Symmol Remix)
A nice quartet of differing shades, textures and moods here. Azu Tiwaline’s take on ‘Subconscious’ is a nicely weighted piece of linear techno with trance and dub overtones. It’s a patient piece that gradually builds and climaxes with energy to spare. Davis Galvin’s interpretation of ‘Electric Shrine’ takes a more reflective route. The sounds it generates feeling like a literal accompaniment to ships passing each other in the mist. It’s like a Buddha Machine update. This approach feels like it’s being taken up a notch on Flug 8’s remix of ‘It Comes And Goes’, a track that grandiloquently bridges the gap between ambient and disco. And going out on the Symmol Remix of ‘Monin Yiri’, we have another, very atmospheric track in which the space between the beats is crucial to the overall comprehension of the track. All good in the hood, with Flug 8’s rendering of ‘It Comes And Goes’ being my personal pick.
Friday, October 18, 2024
Track Of The Day: The Normal - T.V.O.D. (Mute)
The first release on Mute Records came from its president, Daniel Millar as ‘The Normal’. It was a double A side with ‘Warm Leatherette’, in infinitely better track and one that went on to be covered by all and sundry, with Grace Jones’ version featuring on ‘Nightclubbing’ being the most famous. This is of no matter though. I had a sudden urge to post this because the isolated memory crossed my mind earlier today of seeing this performed live when The Normal and Essential Logic supported Belfast’s finest, Stiff Little Fingers, at Eric’s in Liverpool in February 1979. I would have been a mere 16 years old and not very gig hardened at that point. It was one of the best as I recall. And this track was undoubtably played, although I can’t remember that precise moment. It’s got the lot as far as nascent industrial synth pop is concerned. Deadpan, repetitive lyrics, and a few layers of synthetic madness that ratchets the momentum up and down, but remains intense throughout.
Thursday, October 17, 2024
Will Hofbauer - Dingers EP (Optimo Music)
Title: Dingers EP
Artist: Will Hofbauer
Label: Optimo Music
Cat Number: OMDD57
Genre: Dub
1: Can Dub
2: Diing
3: Leech
‘Can Dub’ is a good title for this track. If there was ever a soundtrack needed for kicking one down the road, then this is it. It never really gets out of second gear and is the length you need it to be, even though it’s just over 3 minutes long. It carries huge wafts of “I don’t give a shit” within its heightened spacial awareness and, as such, is to be applauded. And that’s generally the context under which these three collisions of sound and vision have been created. ‘Diing’ is caterpillar music, and I have no idea why I’ve just written that, but it’s true. Not as smeared as ‘Can Dub’, more definition and whimsy. Definitely one for the invertebrates. Which brings us on to ‘Leech’, perhaps the most fully realised of these vignettes. Definitely a multilevel operator, marching drums held together by interplanetary, stratospheric. Synthetic sonic flourishes that feel like a kinaesthetic imaging of marijuana, which is really what the whole release feels like. A small, but perfectly formed.
fug wrapped in a fug.
Tuesday, October 15, 2024
Track Of The Day: The Other People Place - Sunrays (Warp)
One of the lesser known tracks from ‘Lifestyles Of The Laptop Cafe’? Not really, it’s just that ‘Lett Me Be Me’ dominates to such an extent. ‘Sunrays’ is a touch of equal genius though which, in its simplicity and depth shows James Stinson’s lightness of touch and ability to create imaginary sonic worlds. ‘Sunrays’ evokes more than the weather. It’s an auditory lifestyle choice; a piece of subtropical minimalism that encompasses attitude and proto-ambient space jazz.
Monday, October 14, 2024
Sunday, October 13, 2024
Track Of The Day: Public Image Limited - Public Image (Virgin)
Released on this day in 1978, Public Image Ltd’s debut single was one of the most eagerly-anticipated of its era, precisely because everyone was waiting to see if John Lydon would sink or swim after the demise earlier in the year of the Sex Pistols. He was clever though. This track is similar, but also different enough, to keep everyone guessing. Its sonic oeuvre is what is most interesting about it. Lydon’s characteristic wail is still intact, but everything else is bathed in a tub of dub and fuzz that goes in and out of focus. Of course these were also the days of the emerging 7” picture sleeve, and the newspaper one that covered this release and pulled out to tabloid size is a clever pastiche of not only the front pages of the day, containing piss takes of the types of article that are featured, some focussing on the band members. October the 13th was a great day for singles, with The Jam’s ‘Down In The Tube Station At Midnight’, and Gang of Four’s ‘Damaged Goods’ also being released. I have to say that I was prompted to write this by my good friend Steve Penny posting it on a Whatsapp grouo earlier today, and the debate as to which is the best release continues.
Saturday, October 12, 2024
Track Of The Day: Playgroup - Number One (Black Strobe Instrumental Remix) (Source)
Sort of pre-electroclash chug, if that’s possible, and would sound absolutely mega in the right place and time (I’m being cryptic here :)) While much was tribal and rolling in the parallel world of the London warehouse scene, this was existing on a slightly different plane to the rest. A touch of genius from Trevor Jackson, embellished with more of that by Black Strobe, and amazingly the sound of young Scotland on guitar duty. A climax from heaven, and a set ender to end them all.
Friday, October 11, 2024
Track Of The Day: Hardfloor - Acperience 1 (Harthouse)
An obvious one, especially having already mentioned it in the previous post. And such is the power of it it’s difficult to get it out of your head once let loose. My memories of this track are not all positive however. Once when playing a party, an acquaintance asked me if he could play the first 5 minutes of my slot in order to “get the party started”. OK then. What harm could it possibly do. So he played this and it was all uphill from there. Great tune, just don’t try to follow it.
Covenanza 2024
Writing about Covenanza as soon as one is back home doesn’t happen, nor should it necessarily. Life takes over. The house needs to be cleaned, the dog gets his walk, food is consumed and procrastination ensues. So far, so normal. Also there is work to be done, now and again. So, getting around to saying a few words on the perennial hot topic of that party in Carcassonne is never as automatic as hoped. And I can, as in the past, only comment on events inside the castle on a Friday and Saturday night, still not having the time or the holistic organisational skills to book the Thursday and the Sunday nights. This will happen next year though, I hope. Anyway, arriving at a sort of normal time towards the end of Friday afternoon, we checked into our hotel, the functional Le Couvent, and immediately started thinking about food. We both agreed that we would go to the same two venues as we had last year: Brasserie des Platains and Le Bistrot d’Alice. We’d been to the former the preceding two years and the latter last time. Both were well worth another throw of the dice so we changed the order from last year, opting for the latter on the first night, and the former on Saturday. Fast forward to finishing the meal. The cafe gourmand has been demolished and we’re on our way. Festivals are great and all, but I really dislike being held in the same place for too long and, no matter who is performing, I don’t want to arrive until things are starting to hot up. As we were waiting to get our wristbands outside, David Holmes was rolling a cigarette and being bothered by some French bloke who kept on saying to him “If you do zumsing for me, I do zunsing for you.” Fuck knows what he was on about, and it seemed to be falling largely on deaf ears. We timed it to perfection, arriving just as Shit and Shine was coming on. This was a completely new name to me. Mr Shit and Shine, aka Craig Clouse, is the only constant of “an ever-rotating line-up of musicians.” Sort of, “if it’s me and yer granny on bongoes, . . . (it’s Shit and Shine”). Straddling the divide between noise, experimentation and a symmetrical grinding, beat-led cacophony, he went down quite well with most of the crowd, at least as far as I could tell. Not so much with the small crowd next to me though. Some chap kept on talking to me about “beards”, and how there were “too many of them”, like some sort of faceborne virus. He was inspired to say these things by Mr Shine’s large grey effort. “Give me a few months and I’ll have the same. You can have it if you want”, I said. Then when a particularly discordant chord throbbed through the chateau, one of the girls next to me turned around and said “What the actual fuck!” at me. This was definitely code for, “Get this crap off and let’s start the rave. The drugs I’ve already taken are being wasted”. Anyway, I enjoyed it. The last thing I wanted to hear was some ALFOS lite before the main attraction came on. And once Sean Johnston got going then the party really got started. There was a degree of building and guiding in however, which frustrated my partner in crime as she really wanted the beats to be slammed in from the start. Ah, la jeunesse . . . no patience. Haven’t they heard about the warm up within the warm up? It’s a never-ending spiral. Suffice to say SJ rocked it. The ALFOS Facebook group has been busy since, giving a breakdown of those tracks which were recognised, and I suppose a peak of sorts was reached with the Hardfloor remix of More Kante’s ‘Yeke Yeke’ which, along with ‘Acperience’, is possibly their finest hour. One of those tracks where the ridiculously over-the-top breakdown really works whatever the crowd. An eye of the storm moment that you really had to be there for. Obvously everyhitng was great so, without going to much into what followed, fast forward to the following evening when me and la Mrs went to the Brasserie des Platains, a spot that we had come across two years before and did excellent duck. We both ordered a magret, which were each the size of a small mattress, with chips of course. Big disappointment. Undercooked and also the place itself seemed to be vaguely on its last legs. The prehensile garcon from previous visits wasn’t there, and rather like last year, loads of tables had been reserved, but no one turned up to take them. We’ll be checking out pastures new next time. Propelled by an indecent amount of still being digested meat, we ambled our way back to the chateau again, timing our arrival almost to the first second of Tin Man’s live set. This was excellent. The 303 can be annoying and overwrought in the wrong hands, but not in Mr Tin’s. Reaching transcendental levels, this was a real piece of electronic art that perfectly paved the way for Roman Flugel to tear the house down. I took quite a few videos of all of the performances I witnessed, but the final one was the most memorable. I was filming Flugel and scanning the crowd to try and pack in as many happy faces as possible. While sweeping from left to right I heard someone trying to attract my attention and was met with the irate expression of a woman who told me that the torch on my phone was on. Well, this was obviously a little embarrassing so I stopped filming and switched off my flashlight. Shortly after I was informed that one of the reasons she looked so pissed off was because she was engaged in serving refreshments at the time. So that’s me told I thought. Anyway, the one time Acid Jesus was excellent and again sent the Facebook group into overdrive in the days which followed in order to get some sort of foothold on his selections. Rather like the previous year’s same time set from Ivan Smagghe & Chloe, this was a collection of tracks perfectly selected to fit the time, place and occasion. The breadth of music was wide and dense and was idiosyncratic enough to remain memorable and be far more than the sum of its parts. I shall delve deep into the realms of cyberspace over the next few days and post as many tracks as I can track down. So for now, that’s it: except to say that it’s impossible to find a chocolatine in Carcassonne on a Sunday morning, and that even though the cafes on the Place Carnot are an obvious meeting place and central to the hors chateau experience, one can predictably have a cheaper, and also better, dining experience in the surrounding streets. Next year it’s going to have to be Thursday to Sunday night.
Tuesday, October 08, 2024
Track Of The Day: Santana - Savor / Jingo - 8/18/1970 - Tanglewood (Official)
Ah Santana. One of those artists who was out of reach for me as a kid. Not that I’d have been into him then anyway. I was a little too young to appreciate him at the time, and my parents had no idea of anything beyond Andrew Lloyd Webber & Tim Rice musicals or John Denver. I knew some person of my age who had a Santana album in the mid seventies, but regarded it as too noodly and self-indulgent. I mean I wasn’t too far wrong was I? Having said that, this is ace. This particular performance taking place shortly after Brazil’s iconic World Cup win in Mexico. I imagine Carlos was pretty happy at the time, while back in Wallasey I wasn’t aware of music. It would be a year or so later that I started cultivating an interest in T. Rex and Bowie due to some iconic Top Of The Pops performances. And it wasn’t until a few years later still that I came to realise that there was were multiple subcultures alive and kicking that didn’t owe their existences to getting in the top 30. Miles Davis must have heard this stuff and said I want some of that, even though he had already set sail in that general direction. All those Santana albums I used to leaf through in the many Liscard record shops I inhabited. Where are they now? Great innit.
Fedka & The Wulf - Beardvasion EP (Golden Ape Records)
Title: Beardvasion EP
Artist: Fedka & The Wulf
Label: Golden Ape Records
Cat Number: GAR002
Genre: Peak Time Filter Disco Derived Floor Fillers
1: Beardvasion
2: Serena
3: Beardvasion (Luke’s Anger Remix)
4: Earlyworm
Is the world ready for a filter disco revival? Is this mid nineties Paris? Well, whether I know what I’m talking about or not, this release at least embodies the spirit of said approach; having refined and embossed it in the process. All tracks come with what feels like a sample heavy approach and dress it up with all manner of sonic embellishments. ‘Beardvision’ sounds like something Ark would be proud of, with added sub bass. ‘Serena’ is probably the most obvious hommage to the sound of Roule et al and, as such, is pretty good because it never goes full throttle on the production. It has a healthy sense of reserve. ‘Luke’s Anger Remix’ of ‘Beardvasion’ puts the original on hydraulic stilts, substituting a sort of oompah band on crack for the bass. And ‘Earlyworm’ sounds like something Dan Bell and DJ Sneak might have come up with, had Relief ever commissioned anything from them. Not bad at all.
Monday, October 07, 2024
Sunday, October 06, 2024
Saturday, October 05, 2024
Friday, October 04, 2024
Track Of The Day: 51 Days - Paper Moon (Touche)
I had to check to see if I hadn’t already posted this, because I was sure I had. And it so often features in many people’s top ten deep house tracks it’s almost become a bit of a cliché. It’s anything but though. My copy was a gift from a long lost friend, who I hope is still out there but seems to have gone off grid. I think he bought it from the Berwick Street Record & Tape Exchange. Is it still there? I have no idea, not having been down to that London in search of records for a very long time. Anyway, produced by the immortal Dobre & Jamez, it has everything you want from a deep house track. Depth (of course), drive, minimal structure and a voiceover that sounds like Barry White marvelling at the results of an experiment, but is all you need to send you over the edge at those critical moments when you’re lost in the space/time interface. They really don’t make them like this anymore.
Wednesday, October 02, 2024
Maroki - Pit Stop Papi (Shall Not Fade)
Title: Pit Stop Papi
Artist: Maroki
Label: Shall Not Fade
Cat Number: SNFDIGI057
Genre: Bittersweet Beat Ambience
1: Pit Stop Papi
2: We’ll Always Have Paris (Maybe)
3: Bigman Icecream (This Is A Song About Vulnerability)
4: Satellite City Showdown
5: We’re Going To The Dinosaur Park
This release from Maroki balances a number of elements that come and go in varying proportions across the five tracks, occasionally coalescing in surprising places. There’s a ghostly, vocal presence; break beats, and a sunlit uplands ambience across the whole package, which segues the tracks into some sort of unofficial sequence. Bookended by ‘Pit Shop Papi’ which is beat less for over half its length, and ‘We’re Going To The Dinosaur Park’ which closes on a similar tone, but with more enthusiasm and energy, the tracks in between each weigh up the wisdom of stepping outside their respective domains with various levels of intensity, and are more structured and solid. This is a moot point though, as I have slight differences of opinion on where each leads every time I listen. A strong release though, that treads a sure path through wistful, gossamer draped soundscapes and the passing notion that this can be a funky experience.
Dalham - Alive In Wonderland (Golden Ape Records)
Title: Alive In Wonderland
Artist: Dalham
Label: Golden Ape Records
Cat Number: GAR003
Genre: Apocalyptic Battery
1: Sonoma Relic
2: Chrome Aberration
3: Midnight Climax
4: Reality Wall
“On this outing is the mighty Dalham. Well known for his unique take and exquisite taste in electronic music, he takes a deep dive into the lysergic electro funk soundtrack to his waking dreams.”
Well, that’s some introduction from the press release. I’m particularly sold by “his unique take and exquisite taste in electronic music.” Don’t we all think we’ve got that? The second bit is more pertinent though, and gives one the impression after having taken in this release that Dalham is a bipolar psychopath. It’s a heavy listening experience and if he’s got these tunes in his head while queuing for a pain au chocolate at your local Lidl, I ‘d be ready to run. The beats are heavy throughout, and mostly of a grinding, frictional type; with ‘Chrome Aberration’, ‘Midnight Climax’ and ‘Reality Wall’ being a tadge slower and feeling more sinister than ‘Sonoma Relic’, which throws some break beats into the mix in a vain attempt at levity. It’s never less than interesting, but also worrying.
