Four new tracks forthcoming for Huxley’s imprint each pulling their own unique punches, each party packed. My favourite on first listen is the undeniably hard-hitting Subsurround which sequences fizzy Acid basslines along with commanding vocal edits plus super crunchy drum machines tuned into nightclub intensity that feels just as good night or day, or both. The EP’s title track follows with a blistering, almost Hip-Hop informed rhythm section that plays fast and loose with beats and bass, then contrasts by emotive, if slightly warped, pads. The sefl-explanatory My Answer Is Moog follows with the most brutal production on here as nasty drums fight for your attention with caustic synths. Order is then restored via Dusty In The 313 which journey’s back to the gritty realities of House Music with tough, gritty grooves offset by deep keys and punchy vocal hits to complete this standout release.
Your recent release on Nice Age features the killer track: Buffalo Trace. What for you is the enduring appeal of Acid House?
Acid house to me is just a simpler time. Less is more. The music was super basic but the vibes were next level. As far as the producer nerd in me, I love the raw energy of the 303. The 303 was basically intended to replace the bass player inside of a rock band- give him/her a break- it sounded way to unnatural and robotic though. This fact, in a nutshell, is why electronic music is what it is today.
Can you talk us through how you produced the track?
I can’t disclose all the nuts and bolts, but I will say that it was basically all analog 🙂 A bit of my Moog Voyager was involved too and some Roland TR8. Rest was really building on top of the tight groove of the opening 30 sec.
What’s the story behind your JJ01 edit of Janet Jackson’s ‘What Have You Done For Me Lately’ from 1986. Why did you choose that track in particular?
I am a huge Janet fan and wanted to play out the tracks in my sets. I’ve actually done 5. This is the 001. Only about 3 are intended to play out in a set- the other 2 are more for home listening. All released this summer for free.
How do you feel about the importance of new music in context of today’s re-edit culture?
I mean its all expanding the creative mind by lending your take on to the original. Bootleg and re edit culture has been around forever in dance music. I just bought a dope new Sade edit (yes like the 547th time that has happened) but it’s always fun. It is an important part of dance culture- turning jams into party jams- while you reel in the crowd on the fence.
You DJ all over the world. Do you find that Dance Music is a universal language?
You grew up in Queens NYC. What was it like there and how would you contrast it to living in LA now?
LA is a different kind of beast in itself. I will say that I think LA has turned into a real creative hub in the last 2 years. It’s affordable/artist friendly, and there are loads of cool spaces to rent to make music in without bothering a stuck up neighbor. Now is the time.
Can you tell us about your influences both within and outside of Dance Music?
I grew up on Hip Hop out in NYC, but I am a huge fan of the indie rock and chillwave scenes. Neon Indian, Toro Y Moi etc are some of my favorites. Actually also just saw Ratatat at Coachella that was awesome too. Anything that truly appreciates musicianship, yet still fun, and different, is a big plus. Basically any music that is non “Milk” music- doesn’t have an expiration date.
What are your plans for the remainder of 2015 and beyond?
I have some MANIK music coming later this year on Berlin’s own Bpitch- more techy stuff.. really dope. Also, another solo EP on Black Butter at some point. I got a track on a compilation by Waze & Odyssey too. Other than that, releasing more of the Janet Edits, and starting a new mix series via my Soundcloud. Working on a new Culture Fires EP too- that’s my Disco/Cosmic alias- while also wrapping a 4 track EP for a new project called 909 Til Infinity.
If you’d have asked twenty years ago where House Music would end up? I might not have imagined such an exquisite progression but here we are with Maceo Plex, who for good reason is all over the place at the moment. It can sometimes be hard to put into words precisely how music makes you feel. However, this combination of epic ambience, technological stabs and with yet another unfeasibly funky bassline in place, Frisky does things that are perhaps better left to the imagination. Sex Appeal continues the theme with heavily treated vocals feeling heavenly alongside rapid-fire acid bass and perfectly toned beats. The word Artist is aptly applied. 9
Released by La Fleur’s own label she undoubtedly has the courage of conviction and I have to say that this is excellent/ beautiful in equal measure. The title track eases you into a deep sense of security with gently shuffling rhythms contrasted with a heavy bass and sprinkling of emotive chords. The vocals add even more effortless charm to the production which should gain the labels third release the attention I would suggest it merits. Tjuvlyssnerskan follows by twisting the Swedish noun for feminine around a beautiful, melancholy keyboard loop and more infectious bottom-end. 8
Back with their second release for the label the Polish duo deliver more in the way of contemporary electro-funk that sits very neatly upon Freerange. Open Your Arms plays off-kilter voices against an imaginative arrangement of beats and basslines, which while they throw back to the past also veer cleverly towards the future. The Fred P Reshape then dispenses with that entire notion and delves headlong into subwoofer oblivion, which quite frankly is somewhere you’ll also want to be when you hear this. Love the uncomplicated but deeply intense combination of moody pads and drums which say it all here. Dreamin’ About You finishes you off by the harsh reality of distorted kicks complimented by jazzy stabs, and feels sort of early nineties but then f**ks with that idea completely – cool. 8
More sizzling hot Bass action for you, which in this case emanates from Hot Waves and Favourite Robot recording artist Sean Roman. Bocuse, kicks things off with acid tinged deepness and feels very much of the moment, as its centered around the Bass, while the remainder of production is adorned with all sorts of intriguing electronic sound: some funky – some weird. Moan, follows via the same approach although this feels just that bit funkier. Remixes come from the excellent MANIK, who take the fuzzy tones one step further, plus Waifs and Strays who factor in a 90’s sensibility into their equally fiery interpretation. 7
There’s nothing like the sound of a real bass guitar (or even its digital approximation) to get the juices flowing and Jozif’s latest for Culprit is set to do just that. It would be hard not to love this and the way it pulls all sorts of reference points together: from 80’s synths and Disco styled Strings, to that Funk bass line and 2012 arrangement. Tea, is a spoonful of excellence. The Cure inspired version of Lullaby will appeal to those of a Balearic persuasion and makes ‘just for old time’s sake’ feel like a very good proposition indeed. Which leaves the tasteful, swirling atmospheres of Serenade and the bold electronic textures of down-tempo, Boesen to complete the picture. 8
Jesse Siminski, or better known as, Heartthrob crosses the lines between Techno and electronic House music to feel uniquely spaced-aged. Odyssey’s journey begins with tense beats, supplemented by scratchy keys, and proceeds into darker territory generated by an array of odd-ball electricity that’s nothing but tempting. You would be surprised to hear that, The Liar follows in a lighter note but it doesn’t. It does however offer you funkier cow-bell driven percussion, although even this turns out to be deliciously sinister with the introduction of sleazy sythns and suspect voices. 7
Cielo Sunrise (mixed by Nicolas Matar) Nervous Records
NYC’s Cielo co-owner and resident DJ Nicolas Matar delivers what’s best described a beautiful journey through the sights and sounds of AM:PM. Titled, Sunrise for good reason this perfect blend of soulfully infused rhythms gives you the very best in sassy songs to more vigorous workouts. As you continue listening, Matar proves to be a classic DJ in every sense of the word with the mix tripping through light and shade while touching upon a selection of styles, Cielo is destined to always get the better of your curiosity. Beginning with Guy Gerber’s excellent remix of Deniz Kurtel’s ‘The L Word’ you pass through DJ T’s ‘City Life’ and end up at Jimpster’s beautiful Summer Of Love Remix of ‘1988′ – which is almost right back we all started from. 8
“To celebrate Baker Street Recordings 5th birthday we are giving away an hour long mix featuring some of the labels best tracks from the last 5 years and new remixes of some of the classic Baker Street releases. Mixed by our very own Paul Hardy & McKai. All the tracks in this mix and more are available on the 5th anniversary release out on the 23rd of April at all digital retailers.”
Album review to follow plus interview with Paul Hardy….
Â
Cheryl Lynn In The Night bbr (Big Break Records)
Some three years after the release of her perennial party favourite Got To Be Real, Cheryl Lynn teamed up with producer Ray Parker Jr to produce her third album, In The night in 1981. Opening with her second classic single Shake It Up Tonight the song sees the songstress deliver a pantheon to the cult of Nightlife, encapsulating both its joy and energy and feeling every bit as exciting as …To Be Real, but just that bit more sophisticated. The vocal does that distinctly American thing of sounding soulful, while reaching the extremities of emotion which only singers of a certain calibre can truly do. Also worth noting – if you do such things – are the Gene Page arranged Strings which soar, then hover, with pure Disco class. The album devolps with a selection of hit and miss ballads, mid-tempo popish grooves, and then reaches the rather tasty What’s On Your Mind. 8
Four new tracks forthcoming for Huxley’s imprint each pulling their own unique punches, each party packed. My favourite on first listen is the undeniably hard-hitting Subsurround which sequences fizzy Acid basslines along with commanding vocal edits plus super crunchy drum machines tuned into nightclub intensity that feels just as good night or day, or both. The EP’s title track follows with a blistering, almost Hip-Hop informed rhythm section that plays fast and loose with beats and bass, then contrasts by emotive, if slightly warped, pads. The sefl-explanatory My Answer Is Moog follows with the most brutal production on here as nasty drums fight for your attention with caustic synths. Order is then restored via Dusty In The 313 which journey’s back to the gritty realities of House Music with tough, gritty grooves offset by deep keys and punchy vocal hits to complete this standout release.
You must be logged in to post a comment.