I keep on returning to Rekids not least of all because they always have something refreshing to say. Honoree’s sterling new production for the label achieves that sense of wonder through dark, smouldering drums, stunning commanding basslines and deliciously dead-pan vocals that simply drip with atmosphere, painting Dorian with suitably haunting tones. This is just excellent. Next number, 208 and its array of ponderous beats and punctuating percussion which again leans on the darker side continues the theme. Leaving Margaret Dygas to return to Dorian digging into deeper depths via robust low-end accompanied by occasional keys plus the splash of sizzling percussion on what is undoubtedly an urgent and first-rate remix.
Matt Edwards has of course been busy delivering some of the most thrilling, stimulating music on the planet as Radio Slave, however the purpose of his debut artist album sees those horizons pulled apart beyond expectations. The unnerving ambience generated by the opening, rather beautiful 2nd Home proves it’s not all boom and bust as deeper sensibilities and tempos are explored and also revealed on Forana as well as the delicious 101. Others such as the irresistible Jazzy inflections of Rize again expand the theme, while tougher more robust numbers such as the killer cut Trans take care of any outstanding business. Feel The Same, ends on the introspective, warmly rewarding Gaikokujin as the album proudly transgresses requirements to provide music that exists beyond the dancefloor probing at the highs and lows of life’s emotion.
And this is precisely why I love this label. It can release music of such tranquil, melancholy perfectly realised for the moment like this, then by the next breath pulverising, brutal structures. Zeb Wayne returns to the fold with this emotionally drenched blend of dramatically enriched vocals care of Ziwi plus an amalgamation of finely tuned musical (as in musical) expression that encompasses everything from piano to pulsating machines and real drums. Originally from 2016 none-the-less as songs go this is still a joy. The new remixes then translate other aspects into being beginning with co-writer for the score of The Revenant, Alva Noto who injects more tense atmospheres into the equation. Leaving Calibre to sequence dancefloor sensibilities alongside irrepressible rhythms into his version, while Radio Slave re-imagines it all via syncopated beats and percussion plus bass amid splashes of vocal across some ten minutes of persuasive anticipation.
Rekids begin their new vinyl only series: Rekids Special Projects with this initial release from FBK. Pulling few punches this refreshingly opens with the highly charged Disco insanity of You Are Not Fixed, which loops the sense of history to breaking point as stabs sizzle over punchy drums and quick-fire tempos. The proceeding Dynamonium also does this this time substituting the D word for shimmering arpeggio’s plus hissing hi-hats. The aptly titled Set It Free follows with intense Techno sounding very urgent indeed, leaving the also aptly titled The Final Escape to break it all down joining funkier rhythms together with buzzing, atmospheric synthesizers amid nods to twisted melody.
Words like naked and brutal may trip off the tongue when describing this 100th landmark release from Matt Edwards’ always stunning Rekids. Which while true doesn’t deny the intrinsic brilliance of these productions. Living life on a knife-edge may also generate the same emotions but then aren’t these the times we are forced to live with. Reflecting that nature Another Club ignites dangerous electronics over a series of booming beats plus sizzling hi-hats and a spoken diatribe that very much gets under your restless skin. Feel The Same, almost comes as a light relief though is no less epic in scale with reassuringly familiar vocals looped across urgent, jarring synth notes plus quick-fire stabs delivering the promise of yet more.
The always important Rekids continue with something to say care of this excellent release from Detroit producer Monty Luke aka Mandingo. Let’s start at the start with the Melchior Productions Ltd version which exists in that intriguing hinterland between House and Techno combining informed rhythm, care off some well-timed claps, together with forward-thinking electronics that fuel the experience in addictive ways. Listening to this places you in reassuring territory but with the added advantage that almost anything could happen next. Then there is Larry Heard’s kick-drum pumping, bass line driven, uplifting yet strangely sleazy reworking that incorporates reversed voices with contrasting, brilliantly fizzy synth lines notably. Refreshing.
D’julz vs Jordan Fields
Battle Of The Deejay’s
The excellent Rekids again throw the rule book out with this excellent collection of four new House numbers from the two artists. The Kick drums and then the deep bass that announce the arrival of the formers Shy Town are so typically impressive that you’re immediately captured and enveloped by the tough yet inclusive sounds that hit you. Of course, this being D’julz means you also get that added extra, which in this case is delicately framed piano squeezing out the emotional pips to breaking point. The equally quality In Your Soul, follows in a deeper vein with its creative use of percussive sounds feeling even more than right. Jordan Fields then delivers two great tracks which both ignite your passion for fizzy electronics as they course through the veins of the production aided and abetted by tough beats and basslines in the shape of: Videoflash plus the delicious Acid attitude of Mformation.
Who inspired you to become a Dj? How did you first get into producing music?
Laurent Garnier. I was living in small city in France, Dijon, and we had the chance to have the best club in that time called “l’enfer”. And Laurent was resident with his wake up parties! Amazing. My first production was in 1996 when I met Peter Rauhofer and we decide to do a track together released on Twisted America called “Magic Orgasm”
How would you describe your sound?
Well, difficult to describe!!! But if I have to it will be D!RTY, sweaty, sexy, powerful, hypnotic and acid. Then it’s a mixture of many kinds of music that I like and listen to.
Your second album: D!RTY is a combination of great club tracks but also has many atmospheric parts too. What inspired you to create the album in this way?
All my travels and trips. I always record many sounds, voices, ambiance and I used these to give even more a personal aspect to the album.
Can you tell us about any favourite pieces of software/ hardware which you used to make the album?
I’ll say 2 master pieces are the TB303 and TR909 – they are for me the base of everything.
Why did you start your own labels: Catwash Records and W? What are going to be your next releases?
I started Catwash first because I wanted to release new artists and push music I like (Catwash, Chris Carrier, Lula Circus, Boris Werner, Gauthier DM …) and also create a crew: Catwash family with no spec! We have producers from all around. Then W is a label I created to release my music only as I have so many new tracks every month. And inviting all my friends to it as well! Next releases on Catwash are Lula Circus, Chris Carrier, Alex Noto, Jack Wickham, Adam Shelton and a big compilation with around 20 unreleased tracks. Then for myself 9 new projects coming on Rekids, W, One Records, Homecoming, Snork Entreprises, Unik Musik, Roots and Wings, Act Natural, Systematic …and many more to come. I’m already working on my next album 😉
Where are you looking forward to Dj’ing at this summer and why?
Well this summer was my D!rty tour so I’m looking forward going to USA, Russia, Spain, England, France, Italy, Canada … but also Circoloco season at DC10 in Ibiza where i m staying the summer.
Which artists do you listen to outside of Dance music?
Marc Moulin, Grace Jones, The Cure, EPMD, Heltah Skeltha, Gangstarr, Serge Gainsbourg, Nina Simone, Kraftwerk, ESP…
Mr G’s second album for Rekids sees the renowned producer continue his trademark theme of smoking beats and funky attitude to supply yet another winning formula. What I love here is the way that the music embraces technology yet retains a distinctly soulful element – State Of Flux couldn’t be a more apt title. Take the first track G’s Riddem which perfectly sums it all up: Thumping kick drums, heavy-duty bass, offset by treated timbale and emotive chords to produce a stunning, uplifting effect. The album then continues to fuse together a range of influences and styles, taking the best cues from House and Techno. From the brutal end of Pumped Up to the twisted Disco of Absurd Beatz No.4 this one journey that you won’t want to get off in a hurry.
The first label compilation for Magda, Troy Pierce and Marc Houle’s Berlin-based label ‘Items & Things’ is fittingly called Variables. Variable in so far as the imprint champions cutting-edge electronic music that’s neither afraid to get deep and nasty, or even comparatively subtle such as on Miro Pajic’s infectious intro: Love Love Love. What follows next is a selection from the aforementioned and the likes of Jimmy Edgar, Tomas More and Andy Martin plus a few newer artists. There’s plenty in the way of hot syncopated Disco action to get into here too, all with Items & Things distinctive twist of course. Try Howard Watson’s, Keep Away and Nyma’s, Brain Crunch plus the beyond comprehension: In The Mirror for size. Satisfaction guaranteed. release: July 13. Mixed CD version by Magda released July 29
Your Feelin’ undoubtedly references synth-pop with its fizzy keyboard lines and restrained European melodies, but also counter balances it all with subtle contemporary pads and punchy beats. And just to drive the point home an Acapella follows so you can judge the vocal for yourself, although this proves to be something quietly addictive the more you hear it. Title track, Kisses sounds more like what you would expect with deeper, moodier sounds playing off against intriguing vocals, and this time comes in vocal and instrumental versions.
The second release from Holic Trax sees Tuccillo deliver the title track House 19 in a blaze of House flavoured Techno that seeks to capture the spirit of 1988, and quite frankly succeeds – smiling faces all round. Eves Sky is next and gets deeper with provocative drums and deliciously moody bass, while teasing you with haunting voices and a killer arrangement. PercussHolic then invites into you into a creative play on instrumentation with its excellent combinations of beats and fiery percussion. These tracks appear on ltd 10” vinyl while the digital release features the added bonus of Dubao, whose addictive electronic rhythms become uplifting in the most pleasing way.
Benjamin Quint and Markus Schwarzbauer aka Bara Bröst deliver their second album for BBE and if you’re not already familiar with their unique sound then prepare yourself now. Quirky, lively and thoroughly excitable the music and words play with each other while seeking to let you in on the party. Having said that, this will either work for you or you may find it all not quite serious enough with titles such as Juicy Lady, My Mess and Tony Curtis (try the soundcloud link below). Despite the eager wordplay there are some fine \House and tech grooves which reveal themselves as on the instrumental Tiger Milk and as with everything else it all boils down to personal taste.
Franck Roger & Mandel Turner Through The Motions Real Tone Records
You may recognise the beats from the eighties but if they’re fresh to you then you can relive the excitement generated for new. Through The Motions goes through anything but that with smooth vocals feeling soulfully refreshing in the summertime, as layers of keys build up the tension on yet another rewarding release from the label. An excellent Dub version pays compliment by stripping back the voice to highlight the cool bassline and hot House groove.
Next single to be lifted from their self titled album Into The Night is accompanied by a typically hot video along with a series of excellent remixes courtesy of Prince Language, CFCF, Nicolas Jaar, Renaissance Man and Seth Troxler, Masomenos & Jaw. All of which you could simply say speaks for itself. Like them or love them, you know this is good already from hearing the album.
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