Must be something in the air. JC Laurent’s Distressed World builds timely, futuristic movements of sound that infuse its surroundings with a sense of telling unease. But then of course that’s the world we exist in right now. Brutal beats provide a smoky structure for the unfolding layers of atmosphere to weave around the drums creating a compelling, haunting experience. The remix comes from Oliver Deutschmann in the shape of a Redub with heavier beats driving it all forwards with renewed vigour, while remaining tracks The Red Wire and Breakthrough complete the urgent call with further clarification.
Release: November 15 (vinyl)/ December 15 (digital)
Dance Like Nobody’s Watching EP
Rodriguez returns to the label after his previous 2008 outing with two new tracks that define 2013 as much as they do speak about the flux between old and new. Dance Like Nobody’s Watching is nostalgic for sure, but then that will either delight or bore you in equal measure – depending on your outlook on the current retrospection of the American House Music sound which evolved out of 1991. Perhaps, not surprisingly, I love this and Roberto gets it right down to the bone with punchy organ and piano chords adding neat definition to the â€˜feel alright’ vocal snippets. Oxymoron then flips the coin with the trackier style that came out of the same era as dark stabs and sizzling hi-hats take center stage. Lusciously intense this keeps you waiting with a tension building arrangement which peaks at the breakdown, while proceeding to push forward with the addition of trademark funky cowbell. The Black Madonna â€˜We Still Believe’ version of Danceâ€¦ finishes by proudly reaffirming the sentiment with heavy-duty kick drums and pure House bass spread out across a sparser selection of piano.
What I love about Mike Wall’s debut long player for Hidden is the fact that the German producer doesn’t dwell too much on subtleties. Its fast, pounding and very insistent music that is little short of compelling despite its brutal, sometimes beautiful intensity. The title track does what the excellent Mr G does only from a different angle with driving rhythms offset by moody stabs coupled with that breathless quality which you can’t quite seem to escape from. The fierce syncopation continues with All I Ever Wanted getting freaky with its twisted combination of stabs and (almost) Jazzy Sax. And so the story continues until you reach the titles: Suicide, Choose Life, Ketamine, then ending at Suggestion and I guess a climax is reached. Having said that the drum programming is always invigorating while the mood Mike Wall creates throughout is never less than spectacular.
The brilliantly titled Weirdo is the relatively new label from Juan Kidd who also supplies this release, and why not as this is very excellent. I Want You combines fierce old-school piano chords along with punctuating hits of organ which squeeze every atom of energy out of the snare infused groove. Matters then continue to intensify with the introduction of blasting horns and sprinkles of smooth Fender Rhodes. You need this in your life…
Nice Up Your Dance
Two reasons why I suspect this is an outstanding piece of music. First is that almost despite the straight up shuffling 909 drums everything else feels quite unique; from the shivering bassline to the array of wildly atmospheric synths. Second, is the darkly inspired â€˜heavenly father’ voices that pepper the arrangement. Jaymo and Andy George’s Refix ’96 version then turns it upside down with a seriously heavyweight bassline, hints of Sylvester and an altogether deeper reworking of the atmosphere that feels equally sublime and enticing. Second track from Stefano Ritteri is the EP’s title and is a much looser, funkier affair complete with 60’s organ, 70’s guitar licks and Train line sound effects that give it Balearic sense of cheekiness that is too exciting to ignore.
Bubba & T-Bone Feat. Abe Duque
Extended Play start the new year on the high that they ended 2012 on. This forward pointing arrangement of machine-funk from Bubba & T-Bone employs tempting Electro beats from the past while also engaging with the current House sensibilities so beloved by the label. New York’s Abe Duque supplies the spoken word and receives a heavy sci-fi treatment on the stunning Original version. A series of five remixes then proceed to deconstruct its meaning starting with Lee Webster who impressively reinterprets Bloodline with low-slung reggae styled bass and techno chords. JC Williams visits Detroit for further inspiration with classic trademark drums and taught rhythms reigniting the vocal, with the Ten Story version getting deeper, and Sean Roman & Dick Diamonds Re-Salt mix doing likewise with a sprinkling a cutting stabs. Denney rounds off with more hot bassline action and stripped back beats which develop the mood notably as the breakdown arrives.
Mr Nice Guy/ Classic Masters
Soul Music Records
I guess when you think of Ronnie Laws you probably think of his timeless classic Always There from 1975. But as with most artists it’s good to dig a little deeper to see what else there is . For the record Always… (also covered by Side Effect & Incognito) is undoubtedly a gem and is featured here from his 1985 Classic Masters album, which also collates his finest work from the 70’s to early 80’s. The following Love Is Here moves along similar lines, although with a slower funkier groove that again displays his undoubted prowess as a player/ composer. Indeed apart from the very occasional dated 80’s sounding moment there are plenty of Jazzy movements to savour here as the finale of Saturday Evening plays out with some seriously tasty piano. The first half of this double set re-release is his 1983 album Mr Nice Guy whose opening Can’t Save Tomorrow holds a curious appeal, as does the darker Rolling with its taped voices and haunting Saxophone proving to be most alluring.
Azari & III
‘Azari & III’
Loose Lips Records
If anyone tries to tell you that â€˜Things aren’t as good as they used to be’ they obviously haven’t had the positive pleasure of experiencing Azari & III. As an attitude to dullness the album plays like a dream touching on all points from the more Soulful to the blatantly Techno inspired, this selection of music relishes the extremes. While current single, Restless (With Your Love) and with previous ones are included the air of familiarity is offset by the albums now U.K release. Tracks such as the acid infused Tunnel Vision and the mechanically charged Indigo simmer with tension as the production values are never less than dazzling throughout – although not always pretty such as on the deliciously sinister, Manhooker. Sweet dreams are made of this. 10
Tony Lionni returns the serve with this typically striking production which sees him trace the lines between Techno and House and then blur them. Higher Ground loops a vocal snippet, works it to death over splashing hats and insistent organ with sumptuously deep synth acting as the pay-off – an inspired touch of Jazz. Moomin provides an excellent remix with funky rhythms blending together with a selection of treated instruments. And, if that isn’t enough then the final the e.p’s finale certainly will be. Forever Is A Long Time… begins with Disco drums and ends up reliving a series of classic Deep House moments with exquisite piano and swirling pads: Spine-tingling. 9
Murray Richardson â€˜Memory Loss’ Baker Street Recordings
The story of House continues with this excellent bass driven production from Murray Richardson. Many of you will be overtly familiar with Baker Street by now but if not then title track Memory Loss is the reason to get acquainted. Bass lines like this are hard to beat and coupled with rattling hats and Detroit stabs this invigorating groove pushes all the right buttons at Magazine Sixty. The curious Sometime Sweet Susan continues by adding up various old-school elements and sounding vital. Remixes of Memory, are from the first-rate Paul Hardy & McKai who not surprisingly retain the B line but spice up the drums and top end to compliment the original, and a hypnotic Gareth Whitehead whose sub is suitably s**t hot! 8
Memoria Recordings’ own Lilith plays with numbers on this hard-hitting and deeply involving E.P. Opening track 22, produced along with Timothy Watt, sets hissing 909 hats against moody stabs, weird voices and funky tech rhythms and does nothing if not leave an indelible impression on your mind. Freak You does as the title suggests with menacing sounds and techno attitude. 44 follows the progression with deeper tones and stylish snares, while Circoloco’s Andrew Grant explores yet more tense atmospheres and drum textures on his excellent remix. The Filsonik remix of Freak You rounds off in jackin’ Chicago mode teasing you with its bassline and shuffling percussion. 8
If you like music that challenges your imagination then Mexico City’s Signal Deluxe are most definitely for you. The led track is somewhat epic clocking in at nearly eleven and a half minutes, but don’t let that bother you at this develops a sequence of completely intriguing sounds and vocal treatments all at its own pace – feeling almost ambient at times but with a deadly serious undercurrent too. Or to put that into other words, it’s a stunning piece of electronic music. But then so is the Derek Marin Remix who twists nasty stabs together with trippy vocals and slower beats. The Craft Remix lifts the tempo techno time for its unrelenting version, while the Deepak Sharma & Dieter Krause Remix stretches everything out into sonic extremes and might be something you would like to experience in a dark room (though perhaps not alone!) Again you could use the word exceptional. 9
Sandy Barber â€˜The Best Is Yet To Come’ BBE Records
Sandra Barber was the lead vocalist on Rare Pleasure’s classic â€˜Let me Down Easy’ after which she branched out with producer Clyde Otis as a solo artist to release her debut album in 1977. It’s all too easy to review The Best Is Yet To come because you are immediately enveloped in soaring emotive melodies the way only Soul music seems to truly do. The album contains its fair share of down tempo ballads such as the gorgeous I’ll Belong To You/ Yea Baby but also mid-tempo Disco shuffles and evenÂ hot boogie action too. Try, I Think I Think I’ll Do Some Stepping (On My Own) which comes with excellent reworkings from John Morales and Al Kent as well as the somewhat suggestive I’ve Got something Good (Come And Get It) for size. You won’t be dissatisfied. 8
The second in this series highlighting the labels’ prowess sees Glaswegian Dominic Martin select fourteen tracks to mix. You’d be surprised if I didn’t reassure you the music contains the key word, Deep although rarely do the energy levels dip below that required to party. The album contains a handful of new productions along with a couple of notable remixes from Giom, Milton Jackson and Johnny Fiasco who all deliver typically punchy selections. What the tracks do have in likeness is a common bond in the use of funky stabs, warm pads and always crisp beats. Also well worth noting are the smoky down-tempo numbers: New Context and the tastefully Jazzy â€˜Last Exit’ which serve to break up the beats and the mix in an extra layer of intrigue. 8
Alejandro Trebor â€˜Quemadura del sol’ Hidden Recordings
Alejandro Trebor’s insanely heavy production has to be experienced at least once in your lifetime. Although, there’s not much in the way of hidden meaning here as you’re pulverized into total submission care of its relentless bass and vicious techno hardware. The only possible light in the tunnel is the spoken voice. But having said that Quemadura del sol is also quite beautiful, in its own peculiar way. The proceeding eight remixes may at first seem a tad over the top but as they reveal themselves they’re each developing individual notions of the same theme – and all excellent in their own right too. 8
The fact that this is also released on â€˜hand-made cassette’ conjures all sorts of faded memories from our analogue past but then this music has that emotive quality to it. Mcr’s James Birchall blends to together an evocative selection of instruments which are perfectly summed up on title tracks’ Harbour Wall by expressive drum patterns, atmospheric chords and his own understated vocal. Behave, contains the immortal line, I’ve got to stop drinking so much just because you’re not here to make me stop, and is backed up by unsettling sounds which nicely belie the dark humour. The intense ambience of Waller’s Cut paints its own eerie picture, as indeed does Edge of the Firelight – whose expressive guitar work is exquisite – with Manila providing a lighter respite to finish. 8
James Pullen makes a welcome return with Trip. You will possibly be familiar with the opening sentiment of Industry Whore but never the less this blistering assault of the senses goes way beyond one dimensional thinking. Light and shade are the order of play as Mistabishi probes the reverential Madonna withÂ relaxed breaks on Wannabe, while exploring European analogue on )))23((( via the darker inducements of RWD The Revolution and Party Politics. Always employing creative thinking this album plays like the soundtrack to the changing seasons which by the time you hit number fourteen, Scene And Not Heard is rapidly exceeding all expectations. By fifteen and Prisoner Of Mother Earth you’re left wondering just where these sounds have come from as the Druggers End finale plays out. 8
Retaining the international feel is New Zealander James Barrett who delivers quality bassline madness for notable Leeds imprint Baker Street. Fourth, does precisely that with abrasive hi-hats and a twisted b-line complimented by unsettling keys reaching out for the dancefloor. The excellent Just Looking follows with a sense of Detroit cool and produces machine music that purposefully hits the spot. Vanu continues in deep focus with moody atmospherics, with the equally impressive Afters jacking up the tension once again with sizzling effects and pulsating toms. 8