Techno’s defining stalwart explodes all over the stereo in a fit of Punky, fizzy fuelled rage that in the appropriate parlance: I Fucking Love. Low-slung and meaning business dirty rhythms are punched out across the spaces in-between as Anika’s attitude spiked vocal tickles the imagination with all sorts of devilish and political possibilities. The album is forthcoming but for now this killer release will suffice.
Argentina’s Mariano Mellino’s spine-tingling productions excite moods and ambiences tastefully on both numbers here. The title tracks lends unfussy yet impactful ripples of sound that provide introspective, dark notation while at the same time ultimately pounding drums as sprinkles of grainy keys adds sparkle to the arrangement. Ultramental, follows feeling brighter with punchier beats informing the landscape of rolling melodies while senses are heightened, leaving the MOHN remix of Estrella Del Universo to add a definite intensity to the brooding array of instrumentation.
Flying at you in a blaze of Disco glory is this new one from Crispin J Glover who pulls no punches but packs plenty of fevered surprise when it comes to exhilaration. Perky percussion fuels the grooves while carnival atmospheres light up the feelings as joyous rhythms tease the senses punctuated by a chorus of Fly Away.
Release: October 19
Hello and welcome to Magazine Sixty Ryan. Can we start with your breath-taking new single: SHADOWS. Can you talk us through where the inspiration came from for the track and how you then transformed those ideas into music?
Shadows was a song I had written quite soon after leaving my place of employment for the last 10 years. I was toying with the idea of going full time for way to long. The security of full time employment was great, but it really prevented me from pushing my music. This song kind of talks about that. It’s a struggle that most artists never see through. I can understand that, it’s a total gamble.
The idea really started with the pretty massive analog bass line. I wanted the track to be very minimal and to focus on a solid vocal delivery. This was something that I previously wasn’t very comfortable doing. As the lyrics progressed more elements where added. I used a lot of synth sounds that haven’t been used in a musical sense such as the modular style glitches. This was to sonically push my synth skills and sound. Finally the string sections. Strings are something I’m absolutely obsessed with. I had Rachael Boyd & Laura Mc Cabe brought in for that. Both stunning players.
Your recent session for Across The Line highlighted your use of analogue synthesizers. Which artists first inspired you to use those sounds and how would you describe the difference between the sounds they produce and those similar instruments recreated by digital plug-ins?
Yeah this topic is something I get asked by a lot of people. I grew up listening to loads of different genres. I’ve never really pin pointed one artist that inspired me.
I kind of started learning synthesisers when I was about 16. I’ve been collecting ever since.
I was never really against computers as such. It was more the case of synths were cheaper to buy at that time rather than computers and software. I’ve heard amazing software that can out do hardware and vice versa.
A lot of electronic music these days is more or less instrumental (especially Dance). What does your voice say about you, and do you think that there is anything that the human voice can’t convey which instrumentation can – or vice versa!
I think a combination of bought is now a good happy medium.
(Pics by Wrapped in Plastic Photography)
Your studio has an amazing array of keyboards. Do you have a favourite and why?
I would have to say analog my Roland Juno 6. Digital would have to be the ROLI GRAND.
How long did it take you to acquire them all? Where did you source them from?
This has been built up over 15-16 years of collecting. I’ve bought from all over the world now. Ebay has been the main search engine I’d have to say.
Tell us about how your involvement with Quite Arch and Northern Ireland Arts Council came about?
Quiet Arch was a label that myself and Lyndon Stephens started up to release an album called Sealegs. The album done so well that Quiet Arch began to grow.
The Arts Council have been amazing. They noticed me about two years ago and have been helping me develop. Support like that is vital these days.
How do you see the future of record distribution and sales in the digital world?
Vinyl unfortunately is dying off again along with CDs. Streaming is how us artists are going to survive.
Wednesday I play in London with TALOS, Thursday I’m in Belfast & Sunday Dublin. Festivals are over, now the gigging begins.
In one way this isn’t anything to do with Disco, Boogie or whichever retrograde label you would like to apply at the time. It feels much more about the here and now despite the fact that you know exactly where its essence is ripped from. Perhaps best to put it this way, the clue is contained in the title. But projecting beyond that is revealed a wonderful, emotionally resonating number which sequences soulfully assuring keys while offsetting them by tastefully crunchy drums and sizzling, punctuating rim shots on the title track. Jordan then gets down to the eighties with bouncing basslines fuelling electro beats on his no questions need to be asked ‘let’s party’ remix. Don’t You Know, is the second track contrasting nicely with the breezier melodies of Touch Me hitting harder, that bit more Acid in attitude. However, for me it’s T-Bone’s remix which packs a sure-fire intensity and when the hi-hats make their presence felt it all makes perfect sense. That plus the caustic ripple of stereo expanding synthesizers and the spirit of Detroit all go to this more than notable proudly celebrating the labels 65th release!
Release: October 2
It’s been five years since Cesar Merveille & Ryan Crosson’s first album together and while I don’t know what has happened to them in the meantime the results of lives lived have been infused into this long player teaming with ambitious, horizon-expanding, thought-provoking beauty making the wait all the more worthwhile. Intro (Almost Raw) begins the process with haunting tones and landscapes of sculpted sounds laying foundations for the proceeding minimal ripples of Acid Pal which escapes into eleven plus minutes of double bass punctuated rapture – channelling Jazz in a way that would surely resonate with John Coltrane. The cast of collaborators is significant and their parts equally expressive throughout. More playful melodies are then explored in a funkier way on Quadra while repeating textures are re-imagined on the spine-tingling brilliance of ARP. Nordic Bummers, is highlighted by brisk Trumpet blasts as the concluding MCYH seeks a return to ambience via a psychedelic array of colour channelling West Coast guitar. In-between times a riotous story is told and yes it is even better than the debut in so many ways as ideas are given free rein to roam and expand. Forwards. Further.
Release: October 31
The third number on Carly Foxx’s schedule is an absolute gem. And it’s with a breathless anticipation that I point you in the direction of Pezzner’s exemplary remix. Part of what I do is bringing you great music and as I’ve already played this to the point of no return it surely says something that it sounds just as vibrant with each refreshed play. It is hard to classify this as any given genre which is also a huge strength, or in other words it is simply excellent music. The beats reverberate in a dark, seductive way but when that deliciously, irresistible bassline hits all sense of time stops. Musically repeating motifs, occasional crackles and whirring synthesized lines all evolve in meaning over the course of almost nine minutes. I think you probably get the idea by now. Das Komplex then transforms it all into something else again with bass heavy rhythms and funky instrumentation reworking everything. Which leaves the original version and its breezy melody by Yellokake to present yet another story.
Release: October 27
Lights down low. It’s autumn and the radio is on. Sounds like the seventies but then Ryan Vail is introduced on Radio Ulster’s Across The Line and the moments slow to standstill. Moulding live electricity sometimes comes at a cost, though the transformation of analogue machines into dramatic emotion generated through the airwaves feels life-assuring in that blissful, melancholy way. Ryan’s voice smouldering, rippling with regret and possibility hangs on the keyboards in a uniquely distinctive way as this new single testifies. Watch, look and listen below and anticipate the next album full of this to come.
Release: September 29
Live in session on Across The Line
Never one to do things by halves Cadenza release this fully realised, no comprise journey into sound that will surprise and excite you across a justified fifteen and a bit minutes of detailed excellence. Accompanying the excitable flourishes of guitar are punchy, playful drums plus a feast of melodies amid a sense of anticipation which you feel could just about lead you anywhere. Next, Makha Poetry contrasts perfectly with bold bass stamping its presence all over brash, punctuating drums and layers of semi-revealed voices. Another first-rate release of music.
Release: October 6 (Vinyl)/ October 13 (Digital)
The factor that unites both of these tracks together is the use of voice-overs resounding from history, transported into a new context. Beginning with the robust and deeper of the two is title track, No Rush which defiantly moves headlong into a timely sense of urgency with pounding House beats and bass igniting the stereo. Dont Know, on the other hand feels more brisk, brighter with insistent percussion flowing under tough basslines assisted by the looped ambience of voices along with a taught, highly charged dancefloor arrangement of moves and shakes.
Release: October 2