Celebrating the labels fiftieth release of music in the only way that Mr. C ever could. In other words, this is fucking excellent. Before I get to the original we have Ruede Hagelstein’s Synthesizer Love Mix which does just that as a shimmering array of that very electronic instrument weaves its way across a pulsating universe of teasing, tempting sounds. Then next his Rave Tool hits hard and square with one of those kick drums who don’t want to mess with, while the synthetic voices gather pace with fiery syncopation proving to be just as wonderful. The equally great Radio Rental Remix follows fusing deeper bass with downright sleazy vibes that sense danger all the way down. Which brings us not so neatly to the Original’s wonky, tripped out low-end delivery, plus a fistful of crisp machine drums, and tempting voices to point you in the way of dizzying distraction. An outstanding release. Of course.
Ouch. When the bassline is played on the delightfully titled Where Are My Panties you just know you’re in for trouble. Following up from their debut release all the way back in 2015 Delicate Droids have no shortage when it comes to brilliant titles for tracks. But more on that later. The missing item(s) cleverly has an array of distraught synthesized electronics all jamming together over insistent drums, leaving your mind in a pleasurable disarray of sound. Then, The Room Is Spinning creates an aptly unsettling sequence of events that result in something you will need to hear all for yourself. The self-explanatory I Peed In Your Boot leaves its own indelible impression via twisted Detroit bass and accompanying undulating synth lines which are uncompromisingly sizzling, fusing a strange sense of melody together over nine plus minutes. Excellence.
Superfreq reassert their importance (again) with this super-hot new production care off Jay Tripwire & Modern Ancient. The original version tugs at the heartstrings as the breathy rush of synths and voice-like impressions are cast together over probing drums and repeating tones, cumulating in a classically tuned arrangement that doesn’t waste a moment. A further three alternative interpretations prove to be equally alluring. The Spiritual Heartbreak Mix alters the emphasis on the drums, leaving both the Meditation and Spirit Tool versions break it all down to reveal the essential elements. The former letting the ambient pulse of the keys expand, the later sees the rugged sequences given free rein to soar against a background of live recordings. The excellent Dance Spirit are on hand to deliver a powerful remix which then accentuates atmospheric notes finely tuned into the stereo of possibilities.
Hello and welcome to Magazine Sixty Jay. Can we start with your new single (with Modern Ancient): Heart432. Can you talk us through the ten minutes of the Original Mix and where the inspiration came from for the track, and what its title signifies?
I started tuning my music to 423 a few years ago, there is a lot of debate about 432 tuning, there are plenty of conspiracy theories about it, but 1st hand I can tell you that music at 432 gets really amazing responses on the dancefloor. The idea in this track is to target the Heart Chakra, its key is F or F#. The main meanings or functions associated with the heart chakra are:
Love for oneself and others
Ability to grieve and reach peace
Center of awareness, integration of insights
When the heart chakra is open, you may feel being deeply connected, the harmonious exchange of energy with all that is around you, and the appreciation of beauty. However, when there’s a blockage in the heart chakra, you may experience difficulties in your relating with others, such as excessive jealousy, co-dependency, or being closed down, withdrawn, I have felt myself dealing with all these issues being a lifelong artist and DJ, it is cathartic to make things like this.
The idea behind this is for dancefloor healing of that chakra, more chakras will follow on upcoming projects, Modern Ancient came up with this idea, and after research into it we decided to test it out in the studio and it became this project.
Tell us about your relationship with the label Superfreq. And about the choice of Dance Spirit for remixing?
Mr. C and I have been homeys for a very long time, he had me out to London to play at The End and AKA back in the day even before I started playing fabric, he has always been a supporter of my music and my Dj’ing. He started to include me more in the label parties and on the label in the last 5 years and we have a good relationship. I often pick his brain for ideas and inspirations, it was people like him and Eddie Richards and Tyler Stadius that really were there since I started putting out records and supported my work.
Dance Spirit are close friends of mine, I think of them as my little brothers. It has been so awesome to see them grow and develop into what they are today, their hard work and talent has been well received by the world. We often collab on things and they really loved the original so it only made sense for them to do a remix.
The release comes with three original versions. The Meditation Mix and Spirit Tool expand sounds without beats, does that feel freer from restriction?
I don’t care about restriction, or making things people might not get, that has been the basis of my career, it only seemed logical to do these other versions for separate times and places away from the original dancefloor mix. Mr. C does these meditation and visualisation workshops, so having the version for meditations that is meant for opening the Heart Chakra makes it an even more versatile tool.
Which people have had the most influence on you both from within and from outside of electronic music, any particular authors and artists?
My favorite author is Haruki Murakami, I feel he writes the kind of books that David Lynch or Jim Jarmoush should turn into films. One of my favorite artists right now is actually Chris Mohn from Dance Spirit, his works are amazing and now that he is doing all the art for Superfreq its going to look so next level. My early musical influences in the realm of electronic are Kraftwerk, Basic Channel, Dj’s like Mr. C and Doc Martin, Jeno from SF, Tyler Stadius, Evil Eddie Richards, and Dj Three have all been tastemakers from back in the day whos taste and programming sets really showed me how to do things without compromise.
I love a lot of Dub, I listen to Johnny Cash, All Them Witches, Wu Tang Clan, and Lotsa Heavy Metal as well, there are only 2 types of music-good or bad, fuck genres.
What importance do you place on vocals and songs in Dance Music? Can something be equally expressed as effectively though rhythms and sound, or vice-versa?
It depends on the vocal, I don’t like vocals for the point of trying to make a hit, I like words to mean something, to have depth and complexity, not just some fucking hook over and over.
I feel it’s more of a challenge to create emotional content that evokes a feeling from only an instrumental song, but on the flip it has a more universal appeal as language no longer becomes a barrier- everyone speaks music.
I play in a lot of places where people do not speak English and playing songs in English I find borders on arrogance, it’s bad enough I don’t speak the language when I go somewhere to do a gig.
What is your favourite instrument (or piece of software)? Do you own one?
I love my Moog Little Phatty, I wrote a whole song dedicated to it called Brothers of Moogtown on Superfreq. I love old novation gear- I have the K-Station and the Nova, both were actually gifted to me by friends who felt I would make better use from them, I have some fucking awesome friends!
I am currently babysitting the Elektron Rytm and the Analog 4 for my friend, I have wrote a bunch of stuff off them, they are fucking awesome units. The crux of being a true artist who doesn’t have a brain for business is that I made decisions based off the bubble I live in and based on the true integrity of my art. That doesn’t make me a top 20 DJ and therefore I struggle with buying new gear and vinyl. I’m looking at selling plasma to buy the Elektron units lol.
I write everything on Logic 8 actually, one day I will upgrade or someshit, but I wrote shit on an Atari Falcon into the 2000’s till it caught fire, so I’m always doing shit my own way and utilizing the things I have and making it all work, that’s how all the best Detroit records were made.
You recently called Tech-House, Bro-Tech. Can you expand your thinking about that? And does it make great music more special and hard to find, or average formulaic music more the norm?
Tech-Bro!! When we started making these records that later became known as “Tech House” it was based of the style of Dj’ing, we played stripped down house records and more Detroit sounding techno in a set in such a manner that it was best of both worlds. I took that idea and started making my own records fusing both sounds. I never expected one day Tech-House would sound like it does now, it’s fairly cheesy with those big EDM-esq drops. The parties I have checked out are mostly dudes in Vnecks attending and it’s pretty contrived sounding to me, but I’m also decades into this and I like subtleties and nuances in music.
Don’t get me wrong- I do like repetitive stuff but it has to have these small details and I don’t hear it in Bro-tech, it’s just EDM laced Velveeta for people that think they are into “the Underground” whatever the fuck that is hahaha.
And finally. What plans do you have for 2018 and beyond?
I broke my head and neck last year so I was busted up, in a neckbrace and no touring for a while.
My 1st dates back were in November In Oslo, then some dates Romania in December and Hawaii in January, I think people were waiting to see if I had recovered before they started booking me again, but I’m 110% now. Things are picking back up, on the other side since I have been around Vancouver more I have been in the studio like a beast, got lotsa remixes, releases on vinyl and digital coming up. I joined forces with my friends here who do these parties called UnderG, so I’m working on throwing parties with these guys, and we are starting a vinyl label out of it. The 1st release are some tracks I did with a remix from Nu Zau.
The UnderG thing is all about stripped down underground music, and Im all about that haha.
We have Herodot April 6th at a dope warehouse venue called Open Studios.
I still play at Gorgomish in Vancouver, it’s our version of something like Panorama Bar or fabric room 3-I have been playing there for over a decade since it opened and it’s still rockin.
The injury in itself sucked ass but it did have a silver lining and all the love and support people gave me when I was all fucked up thru the bandcamp album I did kept us from going homeless and really showed me that there are awesome humans out there I felt really loved and was super grateful that people gave a shit. I started revisiting being more part of the scene here in Vancouver again instead of being completely absent and away all the time, when Vancouver parties are on they are FIRE and as good as any legendary city.
A gentleman who needs little introduction is the infamous Jose Padilla and if you’ve either witnessed one of his sunset sets, or indeed lisented to one of his numerous CD compilations then you can guess what you’re about to receive. Which is, of course, tranquil blissed-out music espousing atmosphere rather dancefloor clique. The title track undulates in a deeply satisfying way as gentle layers of voice, flute and percussion underpin it all close to your heart, with Mark Barrott’s production shinning. The Bubble Clubs In Loving Memory Mix provides a more hypnotic experience with haunting pads and delays comfortably pacing themselves, while the excellent Wolf Müller Water versions add a funkier sensibility to the equation, and one which works supremely well.
Delivering yet another devilishly charged release Superfreq maintain the tension with this latest from Inxec & Julia Govor. The Original version is all sassy, funky electronics set against a dazzling array of twisted effects and gorgeous, breathy voices all of which simply stuns. Great remixes come from Derek Marin whose dark, trippy rendition contains a classic House B-line and all sorted accompanying percussion. Plus, Meandisco who supply even weirder synths and pulverising beats. Leaving, Noel Jackson’s more sensuous remix to complete with warmer meanderings.
Two tracks go to make up this tasty EP from David K who you will be know with via his releases on the likes of Freak n’Chic and Coccon etc. The charmingly titled, Middle Aged Romance kicks things off with a selection of deeper, sensuous tones alongside fiery drum machines all vying for your attention amidst occasional strident House chords feeling compelling. However, its second track and the very excellent, Drop The Beat that relentlessly grabs your attention with killer Chicago styled beats booming, coupled with commanding vocals and insistent percussion lines – Party Monster!
Counting The Ways
First Word Records
We all like a touch of Jazz. Although it’s a shame that I don’t get to hear as much contemporary stuff this more than makes up for the shortfall. All the tracks are quite long – which is good – and conjure up the sort of atmosphere that is both thoughtful and thought-provoking. Packed full of strings, lush vocals and accompanied by a warm, inviting production score this all makes for happy/ melancholy listening of a higher order. Check the video below and see just what I mean….
Franco Vizzo feat. Brenda Alonso
Unless Your Memory
Another distinctive, and dare I say fucking great, record this week is care off Argentinean imprint Get Slow. Love the brooding jazzy piano which hangs in the air until the deadpan vocal hits you. It’s all inescapably funky, yet a little downbeat which is precisely its charm. Also try the Fer Marino Remix which again plays with the same atmospheres albeit with a deeper edge and Acid tweaks, while warm pads rush over you. Nice.
Spent many years trying to avoid being slightly inclined towards Techno but then this happens once again via Superfreq. I don’t really care for labels much as they tend to get in the way of the music. However, David Scuba’s outstanding production generates such a striking response that it’s hard not to fall under its spell. The title track is as sleazy as it implies with reverberated sounds bouncing off the walls amid a fierce combination of drums and bass. Joint Custody re-imagines the elements on their version, while Jonni Darko ups the tempo on his. The warped funk of Schnizz forms the final track with an undulating rhythm that is just irresistible.