Sometimes music is so joyous you just can’t ignore it. Lee Fields sings his heart out with a passion reserved only for a chosen few and aged 68 that blows most others out of the water. This song of yearning will strike a chord with anyone and everyone on the planet, comes punctuated by rolling rhythms, chiming guitar licks and cool, smoked Trumpet blasts. Perfect. It Rains Love, is the single from a forthcoming and no doubt explosively charged album of the same name. Produced by Leon Michels (Lana Del Rey, Adele, Beyoncé & Jay Z) the music resounds with a crunchy, analogue atmosphere that positively smoulders with a lost sense of Soul. Watch, look and listen below.
From the very opening bars of No Snare the stripped down yet resolutely beautiful trumpet by Leron Thomas intones a suggestion of what comes next. Of course this being Pan Amsterdam a nod to the past is employed and while you may recognise the vibe blown there is a timeless quality to both their definition of music and the words worked around that idea. The point for me is that you want to listen to what is being said, rather than it being shouted at you, there is much thought going on in the process. Tastefully crisp. Shinning bright like the low winter sun. Hit repeat.
As the song said: Another year over, and a new one just begun. So what promise do we have for entertainment this year? Will Disco continue to occupy supermarkets and shopping centres just as it does restaurants and nightclubs? When will the culture of re-editing nostalgia for a bygone age finally devour itself, eating its own imagination? The flip-side to this is all the wonderful new music being created by artists exploring the electronic dynamics which wire themselves directly back to a discovery of synthesized, experimental sound. The third in this series navigates America and Canada’s output complimenting the existing UK and European editions. Beginning in 1975 what quickly becomes apparent is just how radically different these records must have felt at the time of their release. Perhaps rock n roll’s guitar flair has informed Data-Bank-A’s ‘Creators’ but when you reach Rhythm And Noise’s ‘Current Slaughter’, or Dark Day’s ‘The Metal Benders’ you realise that the rush of keyboards igniting future horizons was only something machines could truly do. Rhythmic structures aside the compilation also teases out more ‘difficult’ ideas from the likes of Smegma’s wonderfully titled Dancing Hairpiece Wears Two Left Shoes, while contrasting with the equally brutal, early industrial sounds by Lon C. Diehl ‘Intermission: POP’. A world of difference then excitedly opens up inviting you to experience four discs worth of sonic possibilities that doesn’t revolve directly around R&B. Drum machines pulse and chime, synthesisers frighten and exhilarate, as voices smoulder. But all the while you never quite know what’s around the bend. What to expect next. Names of people I’ve never heard of populate the collection – part of the beauty of music is of course discovery – while names like Laurie Spiegel whose brilliant Drums is a revelation, Terry Riley’s contemplative ‘Across The Lake Of The Ancient World’ from 1980, Suicide’s ‘Rocket USA’, Patrick Cowley’s scintillating ‘Primordial Landscape’ plus a whole host of others are all names that notably inform the timeline. The third CD houses some of the most abrasive numbers, although even this disarray is tempered by the atmospheres of Anode’s cinematically charged ‘Evening Thoughts’. By the fourth the more recent early eighties are represented by Ministry’s vigorously funky ‘Work For Love’ alongside Thirty Years proto Techno ‘Executive Slacks’ and this rich seam of music continues to play out its own consequences beautifully. Yet another essential, important release from Cherry Red and one which acts as much as historical education as it does musically – difficult, problematic or melodically otherwise. Introductory essay by Sounds and Wild Planet legend Dave Henderson guides you through and along the wild journey of abandon.
Brothers in arms Marius & Fabian see in the New Year in explosive style as their hot debut for the highly impressive ZEHN has a flurry of percussion and soothing bass ignite the stereo. The title track, City of Belem explores a diverse set of influences and yet hits hard via its pounding grooves, alongside its probing Eastern motifs and colourful array of sounds. Tapana’s Kitchen, follows with a deeper refrain driving the heavy-duty arrangements which again breakdown into a musical feats of pleasures.
Although this has been floating around for a few weeks now, causing all sorts of sonic damage, the need is to make sure your attention is caught before the year ends. Two equally excellent tracks adorn this release from the label, which has been increasingly building up a stunning set of releases. Renastere, kicks off with an uncomplicated though defiantly direct sequence of filtered stabs, that are all at once addictive and uplifting, reaching out to a hefty nine minutes duration. Next, the more introspective Geneza is tastefully crafted with probing synths taking off amid impactful drums, creating warm yet tense atmospheres along the way.
Whether you find solace in music as escapism or something which charges you up this album’s scope of sights and sounds from C-Jay is quite something. Either way this collection of works generate awe-inspiring experiences to lose and then find yourself in. Avoiding the word ambient, although engaging irresistibly with ambience these terse arrangements reference Europe’s rich musical past, synthesized and futuristic, while providing moments and space to engage with it all. Ranging in length from the relatively short to the extended a sense of time gets lost as Adem provides an experience to be savoured and sought out in 2019. Exceptional.
Welcome to Magazine Sixty, Marco Mollo. Let’s start by asking aboutyour tack: Marechiaro which has been included on Alex Niggemann’s AEON 5 Years Compilation (released Dec. 7). Tell us about how your relationship with the label was first established and how you got this particular track signed to the compilation?
In 2016 we sent some demos to Alex and after few months they were released on Soulfooled, since then our collaboration became more frequent and we noticed that our projects were matching quite wellwith Alex musical ideas and his label Aeon. I met Alex for the first time 2 years ago in London, we really have a good friendship now which goes beyond music. It’s always fun whenever I’m with him and the rest of the Aeon team. I was really happy when Alex and Simone (Speaking Minds) asked me to participate with a track to this celebrative compilation and this is when I decided to start working on an intro track.
Can you talk us through how the initial idea for the track was conceived, and then how those ideas were produced as music? Do you have a favourite piece of software/ hardware that you always like to use?
In general I’ve been always passionate about intro tracks, electronic and chillout music. It’s not the first time that Alex uses a TVA track as intro (Balance CD and Lost Tapes Vol.2). “Marechiaro” was created to be a smooth and soft intro track, with few notes and many layers. The instrument I use more often is the Prophet 12 and I try to change drum machines quite frequently, at the moment I’m also enjoying the Analog Rhythm.
What I love about your music is the sense of freedom when it comes tousing different moods and settings to realise your sound. Which artists have most influenced you in achieving this, both within and outside of Dance Music?
I love any kind of moody music, this can be happy or sad but it must have a character. I find very hard to create music or play a dj set without setting a mood. Periodically I discover new techno/electronic artists who can inspire my production style and also bands like The National, the Interpol and of course the Depeche Mode influence me a lot and I always like listening to their music.
I have been listening a lot to your recent podcast 01 and was struckby the blend of House, Techno and Ambience. What are the common elements which attract you most to these genres? And what is the mostimportant thing that music has to contain to resonate with you?
All these genres have an energetic groove and I usually have fun while mixing them creating a sort of journey. Music must be always original and not a copy of a copy of what can be trendy in the musical market, many people play some tracks for a season and then immediately after they change completely their taste…this is not my style!
Tell us about the photographs which accompany the podcast and how youchoose them to reflect the music playing? Why do you prefer black and white?
I’m an art director and I always worked in advertising. Photography is a big passion, I personally took those pictures around London and I thought it was a good idea to use some of them for my podcast on YouTube. Black and White Stills are my favourite but maybe next time I will also add some colour.
How would you describe the difference between creating music in the studio and DJ’ing live in front of people?
In studio I’m usually more free, when I’m DJ’ing live I try to be myself but I also consider the contest trying to adapt my style.
Do you have a favourite Synth? Do you own one?
I love my Prophet 12 but I also use some ableton max for live instruments and various drum machines, at the moment I’m working with samples as well.
And finally. Tell us about your forthcoming plans for 2019?
Nextyear I will be quite busy because my first daughter is on the way, but I’m working with my brother (le visionnaire) on an album which will hopefully be signed on Aeon, Alex is helping us a lot with this big production. A more techno EP could be another interesting project to release in the next few months.
A stunning release to polish off the year with. DIRTYBIRD pull out all stops with this resilient, piano led number that is all at once beautifully jazzy, and yet rolling with a tough undercurrent underpinned by Amp Fiddler’s spoken message exonerating the future tense. Excellent, provocative music – the way it always should be. The remix comes from label-head Claude VonStroke who adds extra punch to the production alongside brighter expectations, which accompany the sizzling arrangement of fiery dub effects and infectious rhythms perfectly.
ZEHN’s rising star is set to peak by the year end as this forward-thinking, defiantly funky number gets under way. Los Cabra aka Manuel Sahagun & Christ Burstein twist sassy percussion around a melodic bassline that instantly hooks you into their way of thinking, while atmospheric sequences and flourishes colour the edges of the stereo with mood and passion. A captivating production, Hayat never fails but to determinedly excite. Pepiri Guazu, follows pulsing with Detroit stabs, haunting vocals plus a persuasive sense of reality. And then comes the Pezzner remix. If you read Magazine Sixty you will know the high regard with which we hold the producer and his remix of Pepiri Guazu only demonstrates why. Deep, almost disturbing whirring synth lines are offset by chiming, melodic repetitions that are soon accompanied by the sort of brutal bass which can only cause maximum devastation. But, you really should listen for yourself. LOUD.
It’s easy to get excited about this. Primarily because the vocal is so resistant to the cliqued charms of soulfulness. So much so that Wild Child tells its own story as abundant, fiery attitude explodes with devilish charm across tough, infectious synthesized motifs and fevered drum machines. And the craziness only gets really crazy the further you get into it. I get the impression Alan Vega would have approved. The contrasting and first-rate remix comes from a low-slung Daniel Zuur who drives the kick drums and sounds in telling fashion, plus there is also an instrumental version of the original should the voices scare too much.
