Run Da Fun lets fly with the rampant sort of energy that leaves you entitled to feel breathless. Its rolling, tough rhythms cause all sorts of damage as pounding beats and energised percussion work their way into your system producing insistent temptation. Barem’s remix reworks the elements adding a more fluent, warmer low-end to the probing arrangement of sounds, leaving second track: Juice to feel breezier care off brighter, life affirming keys.
Franc Spangler’s liquid funk provokes the kind of reaction all good dance music really should do. Its rhythms glow and groove, while the music lets expectation run riot as emotive chords only add to the impact. Next To You succeeds in doing all of the above, plus there’s the welcome addition of soulful vocals adding the human touch. The wonderfully Jazzy, Somewhere Else follows suggesting different possibilities as smooth keys and free-flowing synth lines create a world of their own. The frankly excellent, Dreamworld then completes via a breathy sensation of funky inflections perfectly attuned to the sunshine and more, producing the kind of response only reserved for a few rare moments.
A purely outstanding piece of music, which every time I hear, renews conviction. This is a beautifull, soulfully charged song with Vili’s dreamy, melancholy vocals drifting effortlessly across the stereo of your imagination. Backed up by robust, tough bass notes plus tastefully crunchy drums this does nothing else but hit the spot in its entirety. Remixes come from an excellent Cevin Fisher who adds a little more bump into the equation, along with Avidus who sequence an analogue flair into their version extending it all to eight minutes. Remaining number Let it Be Known neatly contrasts with tougher, dancefloor expectations but it’s the title track which transcends.
This debut release from Marc Dolley and Denise Fadigati very much feels like a jump into the future, although ruggedly taking its cues from the past. Specifically the clash of sounds which ignited the turn of the 1970’s with those that began the eighties, as the fusion of Punk and Funk delivered a raft of exciting new ideas and motion. You’ll soak up all that alternative funkiness for yourself as the spine-tingling bassline moves deftly around punchy drums and Denise Fadigati’s commanding vocal delivery. Two versions to play with here but either way this sets the floor alight. Let’s see what lies in store…
Welcome to Magazine Sixty, Noha. Let’s start with your stunning release for Oscillat. Can you tell us about how your relationship with label happened?
Well, everything started one year ago, with me meeting up with Sam (S.A.M.) when I moved back to Berlin. I went to hear him play as we already chatted and exchanged some music without ever meeting. Few days later we were already becoming good friends and making some beats together at his place.
In a very spontaneous way I then started sending him lots of unreleased tracks that he eventually started to play. That’s how the other two components of Mandar, Charlie and Nick (Lazare Hoche and Malin Genie) discovered my music. In the following months I started chatting with Charlie and working on a remix for his “Time Guard Ep”, and I finally met face to face with Nick, as he was visiting Sam. When, months later, they asked me to send them something for Oscilalt, It felt it was the right thing, as I understood that beyond being friends we shared the same vision on music in general.
The title track, Nobody revolves around a series of voices. What’s the story behind them, and how important is the human voice in music for you, as opposed to purely rhythm?
For me integrating voices is a very good way of giving an intimate feeling to the track. It might be used as a percussive element, but I prefer when it also brings emotional content, a story.
The track explores an exciting series of ideas. Can you talk us through some of you influences both within Dance Music and from outside of it – any writers, painters etc who have also inspired what you do musically?
As I was finishing high school I was getting deeply fascinated by the idea of Minimalism, especially applied to architecture, design and painting. I guess American Minimalism from the 60’s became the main focus. Especially Mark Rothko. I remember that I wrote with a marker “Simple expression of complex thought” on my Wallet, taken from the manifesto written by Rothko and Adolph Gottlieb. Yes, I was young and naive. But I understood back then how I wanted to express myself.
Can you talk us through the process of how Nobody was produced, including any particular favourite software/ hardware you like to use?
I was working on this loop for days, and I got stuck with it, wasn’t going anywhere. I understood that I was trying to force a direction, not really letting my intuition dictate what to do. I suddenly felt a heavy sense of melancholy and I said to myself “ok let’s try again now”. In a few hours the entire track happened, and If I think about it, I get the feeling that the track did itself.
Regarding how it was made, like most of my track it was a mix between analog gear and software. This track will always remain an important lesson, a reminder that intuition and acceptance of where I am emotionally should guide me.
How would you describe the importance of Dance Music culture in today’s world, relevant to political and social life? As you have lived and visited different cities would you say there are there certain things which unify us through music?
This is a very controversial topic. Clubbing can be an escape from reality and at the same time a chance to embrace a primordial connection with others through dancing together. It comes down to what one wants to make out of it, it can either be a moment to get fucked up with your friends and finally let loose after working as a machine for an entire week, or the most enlightening experience. I am not here to judge anyone.
It sounds terribly cheesy, but for me Music itself is a universal language. The most interesting part of touring, apart from sharing the music you love with a big crowd, is to meet up with local djs and producers, get to know their stories, visit their studio and share experiences. We all have to thank the music for this, a common love that creates a community free of racism of any kind. And we need that more than ever right now.
And finally. Please tell us about any forthcoming plans for the summer and remainder of 2019?
Summer is going to be busy, there’s the Nobody ep coming out followed by the next Patagonia release (me and Alex Tea joining forces) coming on Panickpanick and the launch of an edit label where I’m going to finally share edits that I have been playing for the last year.
The next gig that I’m looking forward to is an all-nighter at Underbron in Stockholm, the 26th of July.
Aaaaaand, for the first time in 4 years I’m going to have a 2 week vacation, a road trip in Sicliy with my best friends. No studio time! Time to switch off.
Brian Eno is a bit like God. Always present playing somewhere in the distance. Echoing into collective consciousness now and again. Maybe that’s why he has had the Asteroid 81948 named after him: Brian Peter George St John le Baptiste de la Salle Eno, or Eno for short. Besides, he is undoubtedly one of the most important, significant artists of this, and indeed the previous century with an influence stretching out far beyond any human horizon sculpting sonic masterpieces that resound into the sublime ether from the 1970’s to today. This latest re-release, originating from 1983, revisits the flurry of ambience created alongside his brother Roger and Daniel Lanois was produced to accompany the documentary ‘For All Mankind’ by Al Reinert, celebrating the Apollo 11 moon landing of 1969. Zoom fast-forwards to now and the 50th anniversary of that surreal, cosmic event now features the original album (remastered by Abbey Road’s Miles Showell), plus an accompanying additional album of 11 new compositions which freshly reimagine the soundtrack. Analytically, as we do like to analyse the man’s work, categorising and theorising as to this and that, for me this isn’t his most important moment. Not that it isn’t great. It’s just not as great as the 1970’s trio from Music For Airports, but music is of course a personal journey and whatever reflects time and space for you is always going to be most significant. What is perhaps most interesting here, in that context, is the comparison of the new music which has been created sonically, as well as highlighting the progression from then to now. ‘For All Mankind’ occasionally marks a more playful, melodic side while also hitting those atmospheric buttons relieving brilliant sensations, most notably on the piano punctuated Waking Up. Or tearing at the heartstrings via on the picture-postcard, haunting nostalgia of the closing, Like I was A Spectator. Moments that capture time like these don’t come much more elated….
Marking his debut release for the label JA:CK sets the pace running with the decidedly edgy rhythms of Pervinca. Unsettling, even unnerving to a degree and yet underneath it all is a compelling sea of atmospheric sound that reveals itself more on each listen. In a world of sometimes safe, unimaginative blandness this proves refreshing. The beautifully sculpted, Never Ending follows mining another rich seam of emotionally resonate music, this time via a succession of grainy synth lines seeking out something more to life.
Once upon a time you might smoke something. Today, maybe you look up at the blue, sunshine sky to get your satisfaction. Either way this tranquil, yet probing set of music plugs neatly into the lineage of sublime, chilled music that you can all too easily apply the imaginary word Ibiza too. Red Moon sees a collaboration between Afterlife, Lenny Ibizarre and James Bright on three of the productions as the title track gets frisky with a series of punchy rhythms, while Earth Rise hits you with a rush string infused richness, high on atmosphere and life. The particuarily excellent Left Bank is the most up-tempo and energised number of the three, feeling suitably refreshed via the thump of four on the floor kick drums alongside a heady swirl of effects, vocals and melodic musicality. The System then sees a solo Afterlife expand reverberating sounds deep into the horizon as the pluck and twang of reggae influenced sounds sound magnificently invigorating all over again.
This startling release from the artist sees Joeski drive his signature sound forward with a philosophical determination as an abundance of percussion ignites Rachel’s smouldering vocal. Let The Drum Speak! touches on rhythm with a sense of eloquence as layers of sound excite and tease. Next the deeper, Expressions In Dub Love gets under the radar via hissing hi-hats and scintillating dub effects bouncing around the horizon. Finally, As We Dance visits the party once again with more playful keys and finely tuned drumming.
Frank Beckers alias delivers music that should have you jumping in the aisles as its startling succession of fiery drums and hot-wired electricity does pure damage to the senses. The title track unfolds with layers of dangerous keys alongside a probing urgency that resolves somewhat upon the arrival of tripped out vocal, but not before creative juices flow in excess. Clocking in at almost nine minutes of pure solution this has anthemic stamped all over it. Next, Rotary sequences a series of melodic notation that is all at once addictive and yet soulfully satisfying. What more is there?