Since when was music not meant to be challenging? It is also most important to note new life being breathed into sounds like these, refreshing them for the next generation. Ron Trent turns Ad Bourke & ROTLA’s brilliantly, fiery production upside down infusing it with all manner of excitable punctuation, exalting the very finest Jazz-Funk and Latin rhythms around. Breathe in the sheer bliss of it all when the beauty hits full-on at around five minutes as the full weight of instrumental intensity strikes. The dreamier intonations of the Original version are no less punchy though serve a slightly different emphasis, and looking forward to hear just how it will all play out over their forthcoming album. In many ways this is all about how the Drums challenge the Music for prominence. But either way the results are a total pleasure.
Before I go releasing lots of hot words it is music just like this that I’ve been talking about at Magazine Sixty. Richly resonate, atmospherically tempting, reaching into your soul pulling out emotions to display across your face. Thoughtful, perhaps even politically suggestive. And yes you can deride all that from a piece of good music – if you can’t then perhaps there may be a problem. Track 9, tears at history sounding like it has eaten up past knowledge yet has made its very own imprint on 2018. After all, why would you want to make a record that sounds exactly like it was made 25 years ago – it would be like listening to the same piece of vinyl on repeat for over two decades. Stretching out to nine minutes of informed ecstasy you know you’re in good company when the bassline hits causing that certain feeling. That plus the accompanying sequence of fervent, punctuating keys and drums saying is all.
I keep on returning to Rekids not least of all because they always have something refreshing to say. Honoree’s sterling new production for the label achieves that sense of wonder through dark, smouldering drums, stunning commanding basslines and deliciously dead-pan vocals that simply drip with atmosphere, painting Dorian with suitably haunting tones. This is just excellent. Next number, 208 and its array of ponderous beats and punctuating percussion which again leans on the darker side continues the theme. Leaving Margaret Dygas to return to Dorian digging into deeper depths via robust low-end accompanied by occasional keys plus the splash of sizzling percussion on what is undoubtedly an urgent and first-rate remix.
Singularity has to be the perfect title for this latest production from Sasha. The arrangement of pulverising drum-machines lend themselves notably to the concept of fierce repetition and a singular, unsettling expectation. Which at almost ten minutes in duration leaves no aspect unturned. Underwritten by a fevered hit of Acidic bass what welcomingly becomes apparent are the warm, lifelong rushes of expanding keys that hit the emotional button full-on by mid-point. However, without doubt the more you listen to the totality of this constantly revealing number the more you are rewarded. Complementing the original is an excellent remix from BAILE who proceeds to squeeze an eternity of atmospheric resonance out of the deeper aspects on offer, resulting in an all-encompassing trip of heightened atmosphere’s and infinite moments.
Eastern Tale comprises of three sonically challenging tracks and as befits the label each rewards on many levels of consciousness. The whirring drones that denote, Clarity serve to allow the presence of crisp percussion to excite the darker elements on show, that plus the succession of echoed guitar and bell like structures. Instinct, then provides warmer relief in the shape of funkier, broken rhythms and a more open feeling of stereo as diverse sounds appear and then melt into the distance. The excellent, Să Fim Serioși ends the series via meandering, probing bass compounded by hints of (always welcome) Jazz colouring the imagination still further. Another highly notable release.
Just ahead of the digital release of Eli Escobar’s typically wonderful album 2018 is no doubt set to surprise us all. What’s perhaps most rewarding of all here, apart from the sheer quality of the music, is the range and depth with which Eli Escobar explores avenues of sound. Whether that’s the downtempo echoes which charge the poignantly titled, Interlude (American Sorrow) or the crazy ambience generated via The people Intro, through to the life-affirming Body and Soul this is music to inspire you to celebrate life (up’s and downs). The fiery Handz Up resplendent with a ‘z’ tears up the dancefloor with a blaze of syncopated urgency (hear below), contrasted by the beautiful chords which adorn Goin’ On? proving that there’s much more to be said about the soulful qualities engaged than perhaps thought. An excellent album from start to finish. Almost a classic if you were judging this as a full-length player (like in times past) telling a story of experiences and a city life lived in all its abundance.
Vinyl release date: 03 November 2017
Digital release date: 19 January 2018
I’m more than happy to keep repeating the adage: beauty in simplicity. And this new production via the mind of Rui Da Silva fits the bill perfectly. What may strike you at first as yet more minimal beats plus heavy, sub bass soon gives way to the pleasure of excitement generated by expanding atmosphere’s and rich pads igniting the horizon of sound. Yes it is uncomplicated but then also packs a pretty punch through crisp yet edgy drums and with all that tastefully emotive music to get lost in…
Hello and welcome to Magazine Sixty, Yoni Yarchi & Tal Tager. First of all thank you for ‘Tel Aviv Morning’ one of my favourite records from last year. Could we start by asking about how you translate the visual into music and is observing images more inspirational than beginning with a singular sound?
Well first of, thank you very much for honoring us with this interview and for the genuine compliment about “Tel Aviv Morning”. We couldn’t be happier about the love, support and positive feedback we’ve received because of it. So let’s begin. As far as visuals, as we produce our tracks, lately we have gotten pretty deep into what’s called “Emotive House” now a days. Those dreamy sounds which makes your body and soul feels as if you were floating somewhere magical, peaceful, maybe somewhere better where you can be your 100 percent true self. I guess that answers the visuals and inspiration. As we produce, hoping to reach such a place, if not physically, then definitely mentally and emotionally.
Your new single for Loot Recordings ‘In Another Dimension’ is equally life-affirming. Can you talk us through the initial ideas and how they were then produced, including any favorite studio hardware/ software you particularly like to use?
We have produced the track in two different sides of the globe via remote control. Yoni is based in Tel Aviv, Israel & Tal is in Houston, Texas. In a way it was feeling at times as if we are communicating through different dimensions. The only way for us to communicate during the work flow is via social media and other devices. During moments of writers block, we were messing around at times until we came up with the idea to name the track “In Another Dimension”. Reflecting our communication between the dimensions. Mainly we have been using the base of every track, Logic Pro X with Adam Monitors, RME Babyface Card, Bluebird Mic, Zoom H4N used to record Tribal Kids, Birds and Forest Atmosphere, Dynaudio MK2’s.
You aren’t afraid of using more traditional instruments in the production such as guitar and piano. I was wondering about the sorts of musicians that have influenced you outside of Dance Music?
We are huge believers in the organic aspects of live instruments. Yoni comes from a classic background of piano and guitars. As for me (Tal), I’ve been a drummer and percussionist since I can remember myself tapping on whatever moves at the age of six. From there it was all self-taught. We love and are influenced from basically almost all types of music. We are both huge fans of Enigma, 80’s and 90’s freaks. So that means anything from Sade, Genesis, The Cars, Tears For Fears, Billy Idol, A-HA, Mike & The Mechanics, Santana to early 90’s Hip-Hop & Rap, 2Pac, Notorious, Warren G, Coolio, as well as the standard stuff like classical symphony music, such as Hans Zimmer. Sure most Deep House producers will include him in their inspiration for the fact that the man is simply a genius with every creation.
Tell us about the choice of remixers for the track: Powel and Rancido?
Well for the fact, this time we both really value the track and think it deserves nothing but the best creative remake. There are only certain individuals out there which are leading the scene musically that we’ve both, including Kered from Loot Recordings – the man with the plan, we would like to give that opportunity. The purpose was to aim big so we offered it to many. Some were occupied with busy schedules and some just don’t do remixes no more. For the fact we all agreed on two different remixes then we wanted each to be as different, but unique and we couldn’t ask for more. Powell of “All Day I Dream” which everything about the label and the army of creative minds behind it is influencing us, plus he’s got a very unique classical style to his tracks that we love. We admire Rancido and his music, especially his affiliation with “Innervisions” of Dixon & Ame which we’re both huge fans of for years now. The tribal, African roots of his deep melodic productions fits perfectly.
How did your Technique Radio Show on HFM IBIZA come about? Why do you think radio is still such a powerful force in the on-line world after decades as a medium across the airwaves?
Technique Radio Show actually started from a weekly podcast Yoni and myself were mixing on a weekly basis. We share this weekly with a solo mix from one of us and alternate. The shows slogan is “TECHing you on a musical journey with our own unique Technique” For the reason each mix is totally improvised and recorded on the spot with a variety of different mixing skills and techniques unique to each one of us. Then here we are a few episodes in with some lack of consistency and there came that huge offer/opportunity to get featured with a weekly radio show on one of Ibiza’s biggest radio stations among some of the pioneers we grew up on. Chus & Ceballos, Roger Sanchez, Chicane, Ferry Corsten, RobbIe Rivera & Cosmic Gate and many others have shows too, as well as some of the leading acts of today’s scene. Guys like Claptone, Coyu, Oscar L and more. Yoni and I have both dreamed about going to Ibiza and eventually spinning there some day and ironically, we are broadcasting a weekly radio show without stepping foot on that magical island. Maybe someday!
What is the best thing about DJ’ing?
We’re glad you asked this! We’ve been waiting to be asked so we can shine some light on that. It can mean many things to many different individuals, but when comes to me (Tal) and in general to the both of us, it goes deeper than deep. Djing is literally everything. It’s like water which equals life. Wouldn’t change nor will you be able to go without it. It keeps us alive during life’s rollercoaster, which at times can be pretty rough ride. From the day of the gig, as you’re getting new music and preparing yourself, it takes you and the dance floor on a musical journey. As it depends on the night, the venue and hours, if we get the chance to go deep and emotional, then it means something deep and meaningful to us. In a way, which is hard to explain at times, it ends with some lessons learned, but it always, without a doubt, also finishes with a big smile and satisfaction. To be able to give such a gift on the dancers, DJing is the best feeling. You are giving people the therapy they need to let go, be themselves and also weather they are aware or not, the only way for them to communicate and see the natural human connection without the decision of color and race.
What for you makes music underground – is sometimes feels like a debate between melody, emotion and rhythm? How do you see the balance between protecting it from ever expanding commercial interests and big money?
That’s as well a great question. What makes music underground for us is the forward thinking, blending tons of elements and creating something unique that one must be advanced with intelligent in order to like and to get for the fact now a days a lot of the House/Techno tracks has got no lyrics whatsoever which means you have got to understand sounds and frequencies to really get the message behind them which is done only with the spirit and body cause of emotions/feelings. Underground music speaks the truth. Anyone can produce something catchy with lyrics that rhymes, yet means absolutely nothing or creates a division with hate to one another. Guns, clubs, popping bottles, degrading sex with catchy beat? No no, that isn’t the message here. Love, unity, joy, happiness, moving and grooving as one under one roof, yes that is definitely how we see it. It’s about cutting edge, and in a way, trying to “break the rules of music”. Being what’s called a sheep, but not the one who follows, the one who leads and make others follow. Now that is our definition of underground house music!
And finally. What are your plans moving into 2018?
2018 is gonna be big, busy and productive for us as we are planning on getting a full Live PA going, a debut artist album, weekly up and coming acts on our Technique Radio Show, maybe change or should I say add to our sound a bit more verity as we are both coming from more dark percussive tribally tech/techno? And overall, one of the main goals is to take our sound internationally with more club gigs in order to share our vision, spread the unity message for hours on the dance floor. Yoni is the brother I’ve never had for life. We are not just music partners, but share a special friendship that goes very deep!
Love them or merely adore them The Martinez Brothers have always produced music imbued by serious party-time passion and these four newly minted remixes tease out all of those qualities in abundance. First up is the Guti & Enzo Siragusa take on H 2 Da Izzo which pushes fast and furious as rolling basslines are punctuated by hi-energy snare hits and accompanying vocal edits. Next is Johnny Aux’s deliciously intense reworking of Stuff In The Trunk which lives dangerously close to the edge as sleazy drum machines are excited by Miss Kittin’s punk rock vocals and a whole heap of attitude. Matt Tolfrey then takes a step in a deeper direction exploring percussive potential alongside a realising of trippy voices, leaving Kenny Glasgow to end via his version of Stuff In The Trunk, again featuring Miss Kittin which this time employs electro bass over all sorts of heavy duty feelings across several minutes of expectation. Result.
Sid Vaga’s decisively irresistible number feels all at once punchy yet refreshingly re-invigorating as Detroit stabs poke at you while chugging drums and rolling basslines tease you into submission. The suggestive voice being the icing on the cake. Complimenting all that festivity is perennial Magazine Sixty favourite DJ W!LD who once again delivers all that is supremely funky with his tough, expertly produced rendition. Think bass, tough beats and general wildness and you’ll be half way to heaven.