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.
Magazine Sixty favourite Joeski delivers what he does best once again. I Want You teases you into submission care off tense, dark electronics plus a breathy rush of effected vocals from Liberty all compacted by unnerving snares. Retaining a strange sense of melody in there somewhere the production is never less than compelling, defining its own space and sound on the label. Whether you try the original or the Disco Mix – don’t worry it doesn’t re-edit the past yet again – and its Balearic, Santana like guitar motifs sequenced alongside supremely funky drum loops, this was always going to be a pleasure.
Splendid release which causes instant impact as soon as the Kick and bass hits. Davina Moss’s smoking production lends both heavyweight flair to the occasion plus a sense of more playful melody in the shape of ShatZ’s lyrical rolls. Powered by the perfect bassline the whole thing seems to jump up and down with energy seeping from every groove. Joeski’s Frisko Disco Remix follows sounding inevitably excellent via pounding beats and bass plus punctuating electro Toms. Lauren Lane then adds a crunchier feel to the arrangment complimenting it all neatly to end this great release of funkiness.
A La House Music. Which in this case sees Doc Martin not so gently fuse incendiary vocals together with deliciously, pounding kick drums plus insistent percussion and heavy hints of Acid, alongside a classic old-time Chicago styled bassline primmed to full effect. Coming complete with absolutely zero airy, elongated breakdowns this remains at fever pitch pretty much throughout. Remixes are from the excellent Joeski whose self-explanatory On Acid Mix delivers the smouldering, treated vocals to a serious injection of Acid attitude, and finally from Mikey Lion & Lee Reynolds Still Trippin’ version which again reworks the elements retaining energy levels all the way down.
Joeski continues his journey into sound this time exploring African rhythms care of this forthcoming release for the forward-planning Crosstown Rebels. The production is, of course, exemplary with reverberating percussion sounds expanding the stereo field via timely voices alongside deep synth lines adding extra edge to the arrangement on his Tribute To Obatala. The theme is then reimagined next in Orisha Obatalá as deeper moods are ignited, while the proceeding Obatala Drum Reprise completes the story revealing all of those perfectly pitched drums in all their intoned glory.
More wonderful music that celebrates life pushing forward yet acknowledging past creatives – a theme that seems to run through everything I review at Magazine Sixty. Put directly Joeski’s effortless blend of smoky rhythms, heavy-duty drums and Dub sensibilities are a thing of eternal beauty. The crash and burn sounds of Dub Music sizzle and excite as the voice of Jamaica resonates. What Is Dub Love? Poses the question next with rolling drum machines offset by a succession of tripped-out notation. The equally great Roots confirms all the aspiration to complete this wonderful EP and not surprisingly finally complements the spaced echoes with a pulsating reggae bassline and flurry of melody.
I just happened across this today, by possible accident, and so glad I did. For this is an outstanding production of ideas, sounds and sheer bravado. It’s uncompromising, includes some beautifully random classically-tuned piano along with not so delightfully twisted vocals, and simmers with ecstatic Acid tension painting a climatic, cinematic portrait that sits in a class all of its very own. Matt Jonson & Jesse Heartthrob provide the remix, with bouncy rhythms added to the equation, but for me its just relish in the Original version for now.
Release: March 30 on Vinyl, April 6 on Beatport Exclusive, April 20 Worldwide all stores
Joeski’s fabulous Acid infused XXX Part 1 kicks off this release with a deceptively uncomplicated arrangement, which in actual fact is brimming with creative tension amid a crisp clash of percussion accompanied by understated, brooding effects. Part 2, not surprisingly, continues to build the theme pushing the Acid lines, breathy vocals and caustic fx to the fore while in the process producing tantalising, hypnosis inducing Dance music. The excellent, Come On, finishes with more superb sound effects stretching out the stereo alongside more in the way of unrelenting drums.
If this is anything to go by then watch out for Deep House Amsterdam’s brand new DHA Records. The Original version comprises of melancholy, smoky vocals accompanied by fine bluesy guitar and captivating drums sounding both intriguing and compelling. Andre Lodemann’s remix then adds more energy and gritty Techno textures while stripping back the song, as Poupon takes it a step deeper with the more of the Originals’ ambience played out across tougher Dance beats and bass.
Reimaging two of last year’s tracks from the Freak EP comes this latest release from the artists own Bpitch Control imprint. First up are AUX 88 who riff dark techno notation together with animalistic sound effects plus pulsating drum machines to sound heavy-duty yet infectious on Butterfly. Ejeca’s Acid version of Freak The Night does just that with trippy Acid sounds amid suitably electronic drums for your pleasure, as the Radio Slave remix transforms it all into something altogether more moody and atmospheric. The excellent LA Williams proceeds to turn it upside down again with pumping Chicago rhythms feeling energised and dangerous, with Radio Slave’s Acapella finishing off for good measure.
Our House is Your House
Ministry Of Sound
Launching another Mix series for Ministry comes this rough retrospective of Todd Terry’s musical output. I can’t remember who coined the Todd Is God phrase but thankfully that was back in the sad old days of 90’s dance journalism. To put it basically though, Todd falls loosely into the pre and post Missing phase: the former representing those glorious Acid years from 1988 through to the tough Hard-House of the early 90’s and for me it’s that number of classics that are hard to beat – period. Try any of the Todd Terry Project productions and listen for yourself (including a couple of disappointing omissions from the T.T canon on this compilation below). The second CD has a selection of some of his current tracks and remixes, including three new tracks from Terry two of which are exclusive to the compilation: ‘Give Me A Reason’ feat. Robin S, and ‘Go Away’ featuring Martyna Baker. The shuffling rhythms espoused on his infamous Everything But The Girl remix is perhaps what he’s currently most celebrated for, and it’s maybe curious to note that those sounds are still contemporary in today’s climate? For a producer who helped define the landscape of House through the late 80’s and early 90’s (and for some beyond) is a big accolade for anyone to achieve. This compilation gives you the chance to sample that justification for yourself.
H-Foundation feat. C1
H-Foundation aka Hipp-E & Halo mark their return to production after a few years absence with this release for DJ Sneak’s Magnetic Recordings. The original see’s their trademark combination of hot drums and bass feel every bit as energising with pounding beats offset by a creative array of effects to engage your imagination amid C1’s commanding voice. Remixes come via Sneak’s relentless HG Dub, Tripmastaz excellent and spacey Takes Kontrol Mix, and finally Joeski’s extra-excellent percussion heavy version that seems like one extra long break-beat but is actually the most musical too.
release: January 27
Giorgio Moroder vs I-Robots
Me Giorgio (The I-Robots Reconstructions)
Never mind Daft Punk listen to this. Originally appearing on the From Here To Eternity album all the way back in 1977 this proto just-about-everything-relevant electronic Dance number still sounds glorious in 2014 as a Opilec Music boss, I-Robots reconstruction. Remaining deceptively faithful, while expanded from the original’s just a shade over three minutes long, this shimmering Disco production feels every bit as innovative on any of three versions available here.
Giorgio Moroder – From Here To Eternity (1977 music video)
World Cinema In The 60s: Volume One
Cherry Red Records
The title alone should be enough to whet your appetite for this experience. But when you add the list of names whose films are sound tracked by this selection then this proves to be a must have for those that like it cinematic and jazzy, or intense and atmospheric. Francois Truffaut, Jean-Luc Godard, Orson Wells and Stanley Kubrick are amongst the more familiar credits while including scores from Jules et Jim and Dr. Strangelove. At times haunting, at others uplifting this swirling collection of orchestra drama and hot Jazz is perfectly suited to entertain dark corners and low winter sun. Listen below for a taste of the emotive instrumentation and vocals that lie in store….
CHARO and the Salsoul Orchestra
Cuchi-Cuchi: Expanded Edition
Big Break Records/ Salsoul Records
Maria del Rosario Mercedes Pilar Martinez Molina Baeza, better known by her stage name CHARO, is a Spanish-American actress, singer, comedienne and flamenco guitarist (voted Best Flamenco Guitarist twice in Guitar Player Magazine). Turning up on Salsoul in 1977 this album contains a frankly jaw-dropping version of The Stones ‘Let’s Spend The Night Together’ but also lush Disco number ‘Dance A Little Bit Closer’ in its full glorious 12” version. It’s quite surprising/ startling to hear all that classic Salsoul instrumentation under Vincent Montana Jr’s guidance backing up such novelties as Cookie Jar but there you go, although there’s not a bad version of ‘You’re Just The Right Size’ for good measure.