Funny to think that After Dark originates from 1995. I could have been made today. Rekids offshoot R-Time Records continues to deliver its neat line in re-issues with the aforementioned punching out shuffling Electro rhythms amid a series of grainy, pulsating kicks and sizzling hi-hats. All offset by the poignant rush of emotive pads which perhaps give the timeframe away but are none the less just as resolutely effective. The more strident Into Space follows with provocative Pierre influenced Acid grooves which come complete with splashing snares and the knowledge of time. The Loft completes with classic Detroit/ Chicago sounds all feeling emotionally charged and notably resonate in 2018.
I couldn’t exactly explain why Rekids are quite so important at the moment. Obviously they release music that challenges, excites and moves forward but also perhaps because the simmering, violent intensity produced by P. Leone on Rose Petal Breaks is simply breath-taking. Add to that, at a relevantly short six minutes of brutal drums, brisk crisp stabs plus a heady rush of sheer energy this demands repeated play. Next, Noon Service gives cause for concern with its gritty combination of punctuated keys and quick-fire percussion which, is fair to say, leaves your brain in a confused state. The unforgiving tempo of Hold Me Down follows in rapid succession, leaving the not so introspective Sometimes I Feel Strong to end care of another blistering array of beats, bass and chaos. Beautiful Vinyl Only.
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…