When did you first discover that you could sing, and which vocalists are your biggest influence?
Long time ago, I was 13. Maybe less..singing was the only thing I could do in my friends band.
My biggest influences are Michael Jackson and Jim Morrison.
You released an EP of tracks (July 7) as an album teaser for: Midtown (due late Sept) which features a host of collaborations. How long did it take to complete such a mammoth project, and can you tell us about some the locations it was recorded in?
It took me 3 or 4 years to complete this project with my friends. MIDTOWN is the middle of the world, where everyone from everywhere is passing by; you have Art Department, then my dear Italian friend Piers Faccini, then Rose Ryot from London… then my sister…then Cassius .. then Brodinski.. then a DJ Pone remix … Claude VonStroke, a new dOP track …. it’s un predictable .. it’s my all seasons dream compilation, recorded in SF , LA , Paris , Berlin , Beirut , London , Tel Aviv..
Where do you find inspiration for your words and subject matter?
In what I’m living, and other people’s lives ..
or sometimes it just starts with a good title.
Can you describe the process of how you wrote one of the tracks from the EP/Album?
The one with Steve Smyth is funny, it’s kind of an interlude, we wrote it while eating a big piece of meat, and recorded it direct around the table.
We are both into poetry so I leave you the pleasure of trying to understand the meaning of this track: Talking Lonely
You have also sung on big crossover hits such as Claptone – No Eyes. How do you see the importance of songs in electronic music, especially after the lack of melody in Tech House etc?
I think it’s good… there are more and more good singers into House Music… for a long time it was hard for me to be a singer, people were not happy to listen to me in the club. It was not normal. They made me get better and better… now with dOP we do 100 shows every year.
Who do you listen outside of Dance music?
A lot of hip hop..
But these days I’m into WILLIAM ONYEABOR
Where can people catch you (and dOP) live over the summer
Next dOP gig: vilanoura on july 24
IBIZA : august 4
saalburg : 9
gotha : 15
Following on from XXX Jimmy Edgar begins Majenta with a bang, and then keeps on banging. From the opening Kraftwerk referencing, Too Shy you’re immediately captured by the sheer funkiness of it all but with the arrival of Punk attitude declaring itself: This One’s For The Children, all hell breaks loose. Tempos continue to lift and drop as the machine-funk proceeds to probe different moods and agendas, feeling sometimes dangerously sleazy, sometimes joyus and uplifting. The one thing that is patently apparent is that this simply gets better with each consecutive listen. And so to highlight the diversity the warmth generated by R&B flavoured, Touch Yr Body and Hrt Real Good is equally offset by the cosmic discotheque of Heartkey. While the albums finale: In Deep draws together such a far reaching set of musical ideas that they are probably too long to list here, but which combine – like everything else – to feel very much like, Jimmy Edgar. 8
Geddes presents Mulletover: The Story So Far 2004-2012
You could say: hotly anticipated, but then that would be somewhat of an understatement. And even if you haven’t made it to London’s premier installation, then the story so far plays like the best excuse to indulge yourself in Geddes first rate selection of deeply involving music. Featuring productions that expand the possibilities from Maya Jane Coles stunning, Dubchild through to Delusions Of Grandeur’s quietly immense, Don’t Sleep the party never seems to end. That realization of course also comes care off Okain’s very sublime, Scream and via the Murk classic, If You Really Love Someone. The journey through the timeline smoothly twists together the lows and highs of everything worthwhile, yet feels every bit about the here and now. 9
Deniz Kurtel & The Marcy All-Stars
The Way We Live – The singles
Wolf + Lamb
Just ahead of the June release of, The Way We Live album alongside The Marcy All-Stars comes this stunning set of three singles. Worked in collaboration, with firstly, Tanner Ross on the very divine, I Knew This Would Happen featuring Pillow Talk, which sequences together gorgeously haunting pads and expertly played bass along with Jazzy attitudes and heavenly treated voices to produce what is simply sublime music. The Jazzy notation follows on, The Beat Drops with Tanner Ross again and Jules Born developing a Saxophone theme across pulsating electro-beats and moody vocals. Leaving, Thunder Clap complete with thunderous fx and Voices Of Black to deliver P-Funk inspired funkiness to entice you further into the cosmos. 9
Featuring features two tracks: Harder (with Jaw) and Timeline (with Francesco Tristano). The former works Jaw’s detuned vocal over bubbling synthesisers and consequently feels tastefully sinister yet bizarrely funky. Reaching almost twelve minutes long the arrangement delivers aural surprises along the way, not least of all the way the bassline climaxes the into a fizzy contortion. Timeless, is almost conventional in comparison, although while acclaimed pianist Francesco Tristano challenges you with abrupt, improvised notes it never-the-less makes sense via the engaging technological rhythm section and its familiarizing repetition. 7
You get the feeling that you don’t know where this is going to end up – which I like – as the opening title track unnerves you with its brooding beats and dark electronics, despite LK’s unsettling voice telling you to conversely relax in the process. Never less than interesting this creative production always holds your attention even right down to the very ending at almost eleven minutes. What Where, continues in a similar vein though rewards you funkier percussion and bass, with the tINI remix of Lonber Attract sounding excellent with imaginative drum programming and further carefully- crafted hypnotic atmospheres. 8
Nikola Gala’s relentless production doesn’t indulge much in the way of subtlties but does dive headlong into pulverizing beats coupled with classic House stabs and vocal edits for quality measure. Indeed, the kick drum is soo harsh it makes everything else seem like light relief – which I guess of course is the whole point – with the resulting experience being uplifting almost despite itself. Ryan Elliot plays with an altogether different beat and indulges in mood enhancing pads and funky hi-hat fuelled percussion to provide a sassy alternative. 7