We’re always up for the conceptual when ideas seek to overcome, stimulate and provoke. I listened to LSOS aka Seth Troxler and Phil Moffa’s first release from their debut EP with something akin to amazement. While a key element of the production feels plugged directly into Chicago or Detroit from a lost 1980’s – it’s the bassline which in ways drives this all forwards â€“ it is also very much down to the wild and wonderful array of brilliant sounds that succeed in causing equal parts havoc and intrigue. Ever so slightly tripped-out, tearing at the edges noises which are precisely what music requires to keep on rejuvenating. And if further proof is needed gaze upon the accompying video, feeling your mouth drop open as words of disbelief explode forth â€“ like a compilation of everything that ills the world, worse still you just know it already.
In a word, excellent. But then again, outstanding would also do. Have to say 2020 have excelled themselves with this release and of course the producer DOKTA whose fiery, informed blend of heightened tension generated by this array of unnerving synthesisers has really set the bar high when it comes to forward-thinking, probing at the edges music. Basically I love the fact that you have absolutely no idea what’s going to happen next, and that’s an idea all to rarely played out these days as the music unfolds. Two remixes with an up-tempo Jay Clarke turning it all upside down. And from Seth Troxler who alongside Bas Ibellini highlights the vocal aspects care of haunting yet beautiful treatments and the eventual inclusion of dark, gritty bass that only serves to re-imagine it all over again on their inspired version.
a radiation wave hit and i got shot through a wormhole. now i’m lost in some distant part of the universe on a ship, a living ship, full of strange alien life forms. i’m being hunted by an insane military commander. doing everything i can. i’m just looking for a way home.
Can you talk us through how you produced one of the tracks from the release?
sometimesÂ i remember the feeling of resistance and in spite, persist the glimpse through absurdity and when my mind opens up that moment becomes the reason.
And how you approach time spent in the studio?
as the indefinite evolving occurrence of existence and events that may very well also contract in reversible succession from the future to the present to the past.
What is your favourite synthesizer? Do you own one? If so, where/ when and how did it come into your possession?
Korg Mono/Poly.Â yes, lucky to say i have the privilege.
How would you describe the difference between analogue and digital? What qualities does one provide and not the other?
quality is relative and reality is an illusion.
henrietta swan leavitt and arthur c. clarke
How do you feel about the prominence of festivals compared with Club residencies in terms of connecting with an audience and introducing them to new sounds/ tracks?
indifferent. people make up a club and people make up a festival. humans upon humans and dominos. it’s an idea, someday in my tears, my dreams. the day goes byâ€¦
What’s your experience of A&R at Seth Troxler’s imprint Soft Touch? And what do you look for when signing a track?
not looking for things helps me be a better listener.
Do you feel that a lot of music today lacks the musicians touch when it comes to originality?
â€œthere’s nothing new under the sunâ€ is overrated. besides, if it wasn’t for the sun, there likely wouldn’t be anything new to begin with.
symbiotic. we share music and science fiction storiesÂ of interest and work together to try and make it happen. also, sometimes, we have coffee and Canadian beers in Berlin and it’s a good time.
What are your plans for 2017?
keep it real.
Having already appeared a couple of years back via Fine Human Records this excellent production now receives fresh impetus and revisiting care off Seth Troxler’s timely imprint. Kicking matters of is the Dino Lenny & Seth Troxler Re-edit which tweaks and re-energises the arrangement to highlight that addictive bassline, cool piano lines and of course the spoken word which delivers a fitting narrative to engage with. New to the party are Luke Solomon’s Live Forever Remix compounding an inevitable hit of Disco juice to the affair by adding different bass and drums along with a more twisted array of keyboards. Plus, the aptly titled Doorly Re-Chunk Mix which does precisely that attacking the speakers with more punch and grind, although allowing space for the subtle elements contained within the piano and vocals.
Release: November 24
Single of the Week
I just happened across this today, by possible accident, and so glad I did. For this is an outstanding production of ideas, sounds and sheer bravado. It’s uncompromising, includes some beautifully random classically-tuned piano along with not so delightfully twisted vocals, and simmers with ecstatic Acid tension painting a climatic, cinematic portrait that sits in a class all of its very own. Matt Jonson & Jesse Heartthrob provide the remix, with bouncy rhythms added to the equation, but for me its just relish in the Original version for now.
Release: March 30 on Vinyl, April 6 on Beatport Exclusive, April 20 Worldwide all stores
Erotic Sessions EP
Poker Flat Recordings
Joeski’s fabulous Acid infused XXX Part 1 kicks off this release with a deceptively uncomplicated arrangement, which in actual fact is brimming with creative tension amid a crisp clash of percussion accompanied by understated, brooding effects. Part 2, not surprisingly, continues to build the theme pushing the Acid lines, breathy vocals and caustic fx to the fore while in the process producing tantalising, hypnosis inducing Dance music. The excellent, Come On, finishes with more superb sound effects stretching out the stereo alongside more in the way of unrelenting drums.
Marlon Hoffstadt & Racquet
If this is anything to go by then watch out for Deep House Amsterdam’s brand new DHA Records. The Original version comprises of melancholy, smoky vocals accompanied by fine bluesy guitar and captivating drums sounding both intriguing and compelling. Andre Lodemann’s remix then adds more energy and gritty Techno textures while stripping back the song, as Poupon takes it a step deeper with the more of the Originals’ ambience played out across tougher Dance beats and bass.
Reimaging two of last year’s tracks from the Freak EP comes this latest release from the artists own Bpitch Control imprint. First up are AUX 88 who riff dark techno notation together with animalistic sound effects plus pulsating drum machines to sound heavy-duty yet infectious on Butterfly. Ejeca’s Acid version of Freak The Night does just that with trippy Acid sounds amid suitably electronic drums for your pleasure, as the Radio Slave remix transforms it all into something altogether more moody and atmospheric. The excellent LA Williams proceeds to turn it upside down again with pumping Chicago rhythms feeling energised and dangerous, with Radio Slave’s Acapella finishing off for good measure.
Our House is Your House
Ministry Of Sound
Launching another Mix series for Ministry comes this rough retrospective of Todd Terry’s musical output. I can’t remember who coined the Todd Is God phrase but thankfully that was back in the sad old days of 90’s dance journalism. To put it basically though, Todd falls loosely into the pre and post Missing phase: the former representing those glorious Acid years from 1988 through to the tough Hard-House of the early 90’s and for me it’s that number of classics that are hard to beat – period. Try any of the Todd Terry Project productions and listen for yourself (including a couple of disappointing omissions from the T.T canon on this compilation below). The second CD has a selection of some of his current tracks and remixes, including three new tracks from Terry two of which are exclusive to the compilation: â€˜Give Me A Reason’ feat. Robin S, and â€˜Go Away’ featuring Martyna Baker. The shuffling rhythms espoused on his infamous Everything But The Girl remix is perhaps what he’s currently most celebrated for, and it’s maybe curious to note that those sounds are still contemporary in today’s climate? For a producer who helped define the landscape of House through the late 80’s and early 90’s (and for some beyond) is a big accolade for anyone to achieve. This compilation gives you the chance to sample that justification for yourself.
Release: March 30
Single of the Week
The Magic Rock kicks off this release with an addictive 70’s styled drum machine repeating into oblivion, but which is soon accompanied by whirring synth notes and arpeggios that successfully seek to maximise the hypnotic nature of the track. It’s expansive too clocking in at almost ten minutes but worth every second of its twisted elegance. Next, The Early Years clashes Detroit stabs together with vocal weirdness and, what sounds like, a ghostly flute penetrating the airwaves as both these distinctive and imaginative productions sit neatly on Seth Troxler’s one of three imprints.
release: October 27
Striking a chord as the nights draw in the excellent original version of Desires does so with deliciously haunting atmospheres and Giorgia Angiuli’s spine-tingling, breathy vocal delivery. What’s also dramatic about this production is the dark combination of provocative bass and treatments of the voice rendering it an extra instrument. Beckwith provide a tougher, trackier remix dropping the main vocal, while both: Dharkfunkh and Kasbah Zoo/ OniWax rework it for theirs. The former expanding the bass, and the latter picking up the pace with intense percussion rounding off this first rate release from Kevin Saunderon’s long time label, KMS.
release: November 3
Three tracks comprise Paolo Leary’s latest and opening with Overhand you quickly get the picture: tough, sometimes unforgiving, repetitive rhythms that work their way into mind and body. Combining pulsing beats and tricky snares alongside shimmering stabs and â€˜Work That’ vocal lines this effortlessly becomes a hypnotic listen. Duties, follows a similar path, although this time with brighter undulating synths, leaving Route to feel warmer with atmospheric pads accompanied by yet more playful percussion.
release: October 29
No Good reflects the detuned (familiar) vocal sample that runs throughout the original version of Paul Rudder’s gritty stab infused workout, which hits hard with a defiantly funky punch. The accompanying Refix version then replays the same elements including those deliriously sassy hi-hats to maximum effect. Leaving the second track to hint at the 90’s via uplifting synth stabs, crunchy drums and attitude proving How Do You Do to be anything but polite.
release: November 3
Fabric 61: Visionquest
I’m confused. Is this Techno, or is it House? If you really have to draw definite distinctions between electronic music (which you can sometimes dance to) in 2011 then please be my guest. However, the reason I feel this selection from Visionquest merits ten/ ten is because it transcends the distinction and thoroughly blur’s the lines between soul and technology – or are they now one and the same. Also, because listening to the soundtrack evolving produces the same intense involvement derived from playing Miles Davis or John Coltrane. If I can use a word such as beautiful in cold December, I can also use haunting and eloquent too. I love the way the music doesn’t shy away from songs either and they are at once thoughtful and thought-provoking. Musically the productions are skilfully crafted and engage with funk – if you can suggest a better bassline than on DJ T’s remix of Phreek Plus One â€˜Passion’ then go ahead – as well as being cinematic in scope for those more heady aspects.Â Exemplary. 10