Put simply this is an extraordinary remix by Andhim, but then again what else might you expect. Taking the breathy melancholy of the originals striking vocals the duo transform its setting by twisting synthesized lines around a furiously funky, tough yet incredibly groovy rhythm section reigniting the voice. Words such as breathless, soulfully resonate and contemporary combine here much like the superlative sounds do.
Operating under the alias of Rework Daniel Varga, Michael Kuebler and Elmar Mellert join forces to deliver this late night tale of intrigue as Anything’s commanding low-tempo shuffle ignites their airwaves in a flurry of hot keys, swirls plus smouldering, breathy vocals. The brisker bounce of Cracked Edit follows fuelled by fabulously syncopated basslines alongside classic drum machines, leaving the beautiful sway of Always Done to complete via shimmering, gated notes amid deep low-end all coming complete with an uplifting sting.
It’s not as often these days that the more traditional sounds of House appeal in quite the same way they once did. Having said that Malik Hendricks’ elegant, wonderfully smoky productions really hit the spot. The aptly titled Deeper Than feels resolutely contemporary in the timeless sense of the word combining soulfully charged rhythms, chords and voices all making their presence most tastefully felt. The remix comes care of Byron The Aquarius who injects added bounce to the groove, peppering it with vibraphone plus tougher edges. Remaining numbers excite the template with the perky punch of the title track feeling particularly feverish. D.W.E.L.E then sequences more playfully exquisite drums, while Dance To The Music retells past glories through the power of jazzy flavoured guitar and the innate strength of the human voice likewise in inviting ways.
Release: April 16
Beginning this brand new imprint is the exciting proposition of three artists getting to choose a piece of Art from the Tate Britain gallery to inspire the creation of music from. The starting point for Jim Stewart is Dead Sea by the British artist Paul Nash whose painting of the same name conjures up a rich, intensity suitably reflected in the surge of brutal energy which eventually reaches a more contemplative end. Simon Whiteside chose the architecture of Inversions by Mary Martin and his free flow of shimmering instrumentation captures its essence perfectly. Next is Arthur Hacker’s 1892 painting Annunciation and Joe Wilkinson’s work provides an ethereal blend of voice and blissful conclusion to this inspired selection of music and musicians.
Release: April 19
Eventually I came to the realisation that melody only accounts for part of aural experience. That is was equally down to the pureness of sound itself to escape the restriction of words while proposing an altogether different story in the process. Roman Bezdyk’s blistering landscapes of notation unfold in a rush of meaning as Studded By Stars 1 begins this EP via a series of tantalising, electrical impulses seeking out new horizons and possible bliss. The awkward rhythms of Vulpine Smile are next, followed by the possible memory of an American Western chime on the striking Dazzling Darkness. The excellent Little Nurse completes the release as shimmering grooves, alongside a warm glow of textures, are then highlighted by questioning voices. Something Came Over Me.
Release: April 16th
To begin with. It took me a while to figure out whether this book was primarily concerned with regret, coloured by being unfulfilled as a DJ’s life in the fast line unfolded, fracturing to the point of almost lost consequence. You could equally add the words bitterness, guilt and envy in amongst the long list of those rather fine, uniquely human frailties we all have to introspectively feast upon. Or is Long Relationships more simply a story of timely reflection about giving your all while having a great time doing so, driven purely by all the right reasons i.e. Love, Art and Music (although not necessarily in that particular order).
I don’t know Harold Heath but after reading this I feel like I do. At least in the sense of what makes him tick in terms produced by the excitement surrounding the culture of music we indulge ourselves in. However, it runs much deeper than that doesn’t it and it’s that very human aspect which shines a light on the highs and lows of musical existence in such rewarding, particularly illuminating ways. If you’ve ever lived and worked in music at least one part of this book’s story will touch memories you have also experienced, recalled here sometimes with an air of mournful disappointment, but then also in absolute genius, hilarious fashion – that description of boat parties alone is priceless. The joyous cynicism on offer similarly does its job by getting aimed squarely at blasting the trivial nature of Dj ego’s where merited, even if names aren’t mentioned you know the type, you’ve already seen the T-Shirt.
The contrast of serious, thought-provoking topics are offset by tales of the more mundane realities of Dj’ing and running nights. In fact a lot of what is written may prove painfully familiar as the tired repetition takes hold, perhaps shaking the foundation of why you may still care so much about it all. Likewise, the earning money aspects of contemporary music production are scrutinised wringing out every cell of financial pleasure that it should come with a health warning. But we still do it because Art is primarily the search for meaning in existence and how that is expressed. Not about cold-hearted, calculated reason.
His understanding and evaluation of Dance Music culture, its current state of play, alongside the way finance plays its role is necessarily spot on. Brutally truthful, yet leaving cause for optimism in some shape or future form. I hope. In fact this has to be some of the most telling writing on the subject there is to date.
Harold Heath’s book is happy, sad, celebratory and fascinating all in one read. I wouldn’t say cautionary because being alive should already tell you that. But its honest, sincere appraisal of what has preceded is both heart-warming and life assuring, even the more crushing aspects as you reach the end.
This is the soundtrack to the accompanying Art Book featuring a collection of writers and photographers thinking thoughts while encouraging you to do likewise. Feeling tantalisingly provocative, radically anti-reactionary, in fact Anti a whole bunch of things this collection of Art, Words and Music defiantly proves the point that what is said, seen and done can result in things changing, altering for the better of all. I guess it’s just hard to see the wood for the trees a lot of the time. Commenting on the nature of society and ways in which we consume material the project was devised by Created by Us and the Barcelona-based label Modern Obscure Music. In terms of sound each track ends around the thirty second mark resulting in the very modern sensation of wanting more, and then more. This in itself causes you to pause, to consider time, to question our over-indulgence?
Listening to the whole is an essential part of the process here, reminding me of that almost ancient act of daring to play an album the whole way through. No stop/ start, no checking your feed, no distraction. Which is almost a revolution in itself right now. Pieces are produced via a cross-section of styles, moods and imagination by twelve artists including in no particular order: Laurie Spiegel, Ryuichi Sakamoto alongside Visible Cloaks and Kelman Duran. From the tastefully haunting to more dangerously sonic this series of ideas are rapidly suggested, expanded, and then just as quickly as they arrived collapsed into the next electronic impulse. The use of the repeat play button is mandatory.
Release: April 16
Hard to escape Jamie Fielding’s hot interpretation of liquid, undulating movement as this stripped down yet massively invigorating series of incendiary rhythms feels dangerously fiery/ inescapably funky. Expanding the horizon of sound to allow for the placement of excitable futuristic effects and tantalising voices the deeply intense drums, bass and assortment of stabbing synths create a rushed, breathless experience leaving you with the sensation of exactly what did just happen!
EMPORE’s rather beautiful offshoot FACETTEN carefully collates music of a more sensuous variety. As evidenced on this new single from fourthlake (aka Christoph Vogel / Beat Freek) which is as much about subtle charm as it is about deeper reasoning. The drums almost seem there in the background as the atmospheric swirl of charming musicality persuades your imagination across the stereo spectrum. Matik’s Drum and Bass styled remix then adds extra flair into the energetic rhythms employed fusing the haunting landscapes of music together while sounding like the perfect compliment.
Produced as the soundtrack to a documentary by Volker Heise, ‘Herbst 1929, Schatten Über Babylon’, offering historical insight to the third season of the television series Babylon Berlin, Thomas Fehlmann has created a wonderfully evocative selection of music diving headfirst into the resolution of grainy atmosphere, lost memory and the sequence of time. Pieces like Mit Ausblick drip with a brilliant intensity, others like Umarmt pulse with distant drums accompanied by a more joyous expectation. Either way this is a particularly stunning listen that will transport your consciousness far and wide. A further expanse of narration amid motion then continues with tracks like Vulkan existing in the glitch of imagination looping noises that combine the opposites of warmth and icy despair, while others such as Abgestellt feel Minimal and jerky. Again it all plays in illuminating fashion provoking a deeper, soul searching response that isn’t always comfortable, yet is always sincerely rewarding.