Released Monday 1st August.
Radiohead - Remixes (Lone / Pearson Sound / Four Tet)
Related Post
Radiohead - Little by Little (Caribou Remix)
Saturday, 30 July 2011
Radiohead - Remixes (Pearson Sound + Four Tet)
Of the 4 planned remix packages commissioned by Radiohead, this is perhaps the most eagerly anticipated with Four Tet and Pearson Sound on remix duties. Four Tet gets to remix one of our personal favourites from The King of Limbs LP 'Separator'. Four Tet keeps faith with Thom Yorke's superb haunting vocal whilst in the second half of the track adds an almost Massive Attack Mezzanine type dark quality to the mix amongst his trademark off kilter percussion, great stuff. Next up for us is emerging man of the moment Pearson Sound's remix of 'Morning Mr Magpie', however despite his growing reputation I cant help but feel that this is not amongst his best work. Whilst the production is impeccable and there are some nice ideas it feels more like his own track rather than a remix, with him only really using some of the deeper pad layers of the original, I suppose it depends on your definition of what a remix is. Lone finish's of the package with a tweaked take of Feral, which works well. Overall a good package with the standout remix coming from Four Tet in our opinion.
Released Monday 1st August.
Radiohead - Remixes (Lone / Pearson Sound / Four Tet)
Related Post
Radiohead - Little by Little (Caribou Remix)
Released Monday 1st August.
Radiohead - Remixes (Lone / Pearson Sound / Four Tet)
Related Post
Radiohead - Little by Little (Caribou Remix)
Thursday, 28 July 2011
DJ vs Producer
Can you make it as a successful DJ without your own music? This is a subject that often leads to much debate and no definitive conclusion. So what’s the answer?
Well the answer is not as straightforward as it may seem, and in order to fully understand what makes a DJ a DJ we need to delve into the past a little and work our way to the present day. Certainly when DJing first started to make a name for itself during the explosion of Disco, House and Northern Soul you most certainly could make it without the need of your own music. Clubs were built around (in the main) exclusive residents who developed an intimate understanding of their crowd, knowing exactly what to drop and when. However this is not to say that all these guys weaved immaculately thought out sets and that the best technical DJs became the biggest names, in fact in most cases far from it. What you have to remember is that during the rise of the DJ the majority of the general public did not have the access or finance to get their hands on the latest Disco or House record, and consequently the biggest names were often those with the widest and rarest selection of records or even just a selection of records.
As House, Techno and Acid started to explode in the UK in the late 80's and early 90's the DJ was able to maintain this level of exclusivity. Furthermore the art of beat matching started to emerge as a key skill differentiating a decent DJ from a great DJ, partly helped by the more consistent beat of purposely produced dance records and the advancement of turntable technology. With the advent of Rave and Trance, dance music began to crossover from the underground into the wider popular culture, a trend Ministry of Sound capitalized on with the first recognised dance compilation 'The Annual' in 1995 and thus the 'Superstar DJ' was born. And although some of the big names of that time did produce it was not a prerequisite as there was enough hype, DJ dexterity and exclusive tracks to keep people wanting more. However towards the end of the 90's to the present day the proliferation of the Internet, MP3's, CDJ’s, decline of vinyl and the increasingly commercial saturation of dance music led to the gradual demise of the 'Superstar DJ' in its original form. It was no longer sufficient to be a tight beat matcher with the latest tunes as DJs and Dance music could be found anywhere, thus killing the hype and exclusivity that once existed. DJs needed a new angle......
Today Producers are often the new DJs, and while some of the big names of years gone by can still pull big crowds it has become increasingly obvious even for these guys that in the fast moving impatient online society we now live in that if you don’t keep things fresh you are quickly forgotten. To be a successful DJ you need an angle, an angle that gets people wanting more, which is possible through being on the radio, running your own night, writing a blog, launching a record label etc, however if your desire is to be a DJ of some note you are most likely going to need to write your own tunes or do a few remixes. This is not to say you cant do well as a DJ who is recognised for their DJing ability alone, however if you have aspirations of taking your music beyond headlining a 200 capacity venue its time to start channeling that passion for music into writing your own.
In summary it is clear that successful DJ's have always had an edge, however that edge is no longer being able to mix the latest tunes perfectly, and whilst it's possible to pick up sets in your local area through knowing the right people and being a trusted hand it is very unlikely you'll get booked to play elsewhere or earn big enough fee's to quit your day job. The biggest names with the odd exception write and remix tracks and although this often results in Producers who cant DJ and DJs who cant produce its an unavoidable reality.
Recommended Reading
Last Night A DJ Saved My Life (History of the DJ) by Bill Brewster
Well the answer is not as straightforward as it may seem, and in order to fully understand what makes a DJ a DJ we need to delve into the past a little and work our way to the present day. Certainly when DJing first started to make a name for itself during the explosion of Disco, House and Northern Soul you most certainly could make it without the need of your own music. Clubs were built around (in the main) exclusive residents who developed an intimate understanding of their crowd, knowing exactly what to drop and when. However this is not to say that all these guys weaved immaculately thought out sets and that the best technical DJs became the biggest names, in fact in most cases far from it. What you have to remember is that during the rise of the DJ the majority of the general public did not have the access or finance to get their hands on the latest Disco or House record, and consequently the biggest names were often those with the widest and rarest selection of records or even just a selection of records.
As House, Techno and Acid started to explode in the UK in the late 80's and early 90's the DJ was able to maintain this level of exclusivity. Furthermore the art of beat matching started to emerge as a key skill differentiating a decent DJ from a great DJ, partly helped by the more consistent beat of purposely produced dance records and the advancement of turntable technology. With the advent of Rave and Trance, dance music began to crossover from the underground into the wider popular culture, a trend Ministry of Sound capitalized on with the first recognised dance compilation 'The Annual' in 1995 and thus the 'Superstar DJ' was born. And although some of the big names of that time did produce it was not a prerequisite as there was enough hype, DJ dexterity and exclusive tracks to keep people wanting more. However towards the end of the 90's to the present day the proliferation of the Internet, MP3's, CDJ’s, decline of vinyl and the increasingly commercial saturation of dance music led to the gradual demise of the 'Superstar DJ' in its original form. It was no longer sufficient to be a tight beat matcher with the latest tunes as DJs and Dance music could be found anywhere, thus killing the hype and exclusivity that once existed. DJs needed a new angle......
Today Producers are often the new DJs, and while some of the big names of years gone by can still pull big crowds it has become increasingly obvious even for these guys that in the fast moving impatient online society we now live in that if you don’t keep things fresh you are quickly forgotten. To be a successful DJ you need an angle, an angle that gets people wanting more, which is possible through being on the radio, running your own night, writing a blog, launching a record label etc, however if your desire is to be a DJ of some note you are most likely going to need to write your own tunes or do a few remixes. This is not to say you cant do well as a DJ who is recognised for their DJing ability alone, however if you have aspirations of taking your music beyond headlining a 200 capacity venue its time to start channeling that passion for music into writing your own.
In summary it is clear that successful DJ's have always had an edge, however that edge is no longer being able to mix the latest tunes perfectly, and whilst it's possible to pick up sets in your local area through knowing the right people and being a trusted hand it is very unlikely you'll get booked to play elsewhere or earn big enough fee's to quit your day job. The biggest names with the odd exception write and remix tracks and although this often results in Producers who cant DJ and DJs who cant produce its an unavoidable reality.
Recommended Reading
Last Night A DJ Saved My Life (History of the DJ) by Bill Brewster
Saturday, 23 July 2011
Four Tet - Fabriclive 59 (Album Review)
Kieran Hebden, aka Four Tet, has always pushed musical boundaries. Whether it be with his inimitable style of electronica - glitching up folk samples into haunting hip-hop melodies - or live laptop jamming with jazz drummers, he always manages to do something different and subvert expectations. With the release of his latest and most accessible album, There Is Love In You, he has found himself sitting alongside the likes of Joy Orbison and Pearson Sound on releases and line-ups alike. These pioneers are re-inventing bass music and Pearson Sound's recent Fabric Mix is a good example of where these new genres are headed. If you've come to terms with Four Tet's endless curve balling then you won't be as surprised to know that this mix doesn't pick up where Pearson Sound's left off.
Four Tet's contribution to the Fabric series is largely focused around garage and the genres it's subsequently influenced. Its enduring features are sparse notation, heavy beats with stuttering hats, lots of bass and a scattering of vocal snippets. Yet despite the clinical way his selections can be stripped down to their bare bones, as a whole the mix makes for a much more soulful experience. It's unlikely that you'd notice without being told, but each track is ripped from vinyl and then glued together on his trusty laptop. In a number of cases this meant cutting it to vinyl specifically to re-record it back to digital. It sounds like a surprising amount of effort but then surprising is what Hebden does best. It also succeeds in giving the mix a human feel, along with the cut-and-play blends and the 'found-sounds' taken from in and around Fabric itself.
The tracklist noticeably highlights the shunning of 'expected' names in the mix (with the exception of Caribou, Burial and Floating Points) in favour of rarer cuts and the 90s originals that inspired them. If you believe the press release, Hebden spent a great deal of time attempting to find music for this mix that even he'd missed out on two decades earlier. We're inclined to believe this, however unlikely, just because the man can't help but be three steps in front of everyone else at all times. On top of sourcing forgotten gems and format shuffling he somehow found time to produce a remix and two originals just for this outing. 'Pyramid' particularly caught our ear. A propulsive kick and bass line combine under shuffling hats and chopped vocals in an atypically straight up dance-floor stomper. These elements gradually dwindle to allow space for a delightfully melodic, tinkling breakdown which, in turn, dissipates giving way for the locomotion of the bass and kick to return. We're keeping our fingers crossed that this gets an official release as it'd be the ideal replacement for Julio Bashmore's 'Battle For Middle You' that we've played so many times our mp3 has disintegrated.
Four Tet has produced a Fabric installment that could well stand the test of time. The inclusion of older tracks gives it more substance than a zeitgeist mix and the field recordings interrupt the flow just enough to make it a suitable soundtrack for commuting as much as partying. Fabriclive 59 just goes to show how truly talented Kieran Hebden is but also how much effort and attention to detail he puts into all of his work. It marks another chapter, another string in his bow and another set of releases to get ridiculously excited about.
Tracklist
1. Intro
2. Michael Redolfi – Immersion Partielle [INA-GRM]
3. Crazy Bald Heads – First Born [On-Tick]
4. Persian – Feel Da Vibe [Same People]
5. KH – 101112 [unreleased]
6. Youngstar (Musical Mob) – Pulse X [Inspired Sounds]
7. Crazy Bald Heads – First Born (Four Tet Remix) [unreleased]
8. Floating Points – Sais (dub) [Eglo]
9. Apple – Mr Bean [Appsolute]
10. Manitoba – Webers [Leaf]
11. Big Bird – Flav (Urban Myths Remix) [Nice n Ripe]
12. Genius – Waiting [Kronik]
13. Four Tet – Fabric [unreleased]
14. David Borden – The Continuing Story of Counterpoint Part Nine [David Borden]
15. STL – Dark Energy [Something]
16. Percussions – Percussions One [unreleased]
17. C++ – Angie’s Fucked [Music For Freaks]
18. Burial – Street Halo [Hyperdub]
19. KMA – Cape Fear [KMA]
20. WK7 – Higher Power [Power House]
21. Ricardo Villalobos – Sieso [Cadenza]
22. Four Tet – Pyramid [Text]
23. Red Rack ‘em – How I Program [Bergerac]
24. Active Minds – Hobson’s Choice (Tune For Da Man Dem) [white]
25. Armando Gallop & Steve Poindexter – Blackholes [Muzique]
26. Outro
27. Four Tet – Locked [Text]
Fabriclive 59 Mixed By Four Tet is available to pre-order now from Ape and Fabric.
By Matt Allfrey (Battery Powered)
Four Tet's contribution to the Fabric series is largely focused around garage and the genres it's subsequently influenced. Its enduring features are sparse notation, heavy beats with stuttering hats, lots of bass and a scattering of vocal snippets. Yet despite the clinical way his selections can be stripped down to their bare bones, as a whole the mix makes for a much more soulful experience. It's unlikely that you'd notice without being told, but each track is ripped from vinyl and then glued together on his trusty laptop. In a number of cases this meant cutting it to vinyl specifically to re-record it back to digital. It sounds like a surprising amount of effort but then surprising is what Hebden does best. It also succeeds in giving the mix a human feel, along with the cut-and-play blends and the 'found-sounds' taken from in and around Fabric itself.
The tracklist noticeably highlights the shunning of 'expected' names in the mix (with the exception of Caribou, Burial and Floating Points) in favour of rarer cuts and the 90s originals that inspired them. If you believe the press release, Hebden spent a great deal of time attempting to find music for this mix that even he'd missed out on two decades earlier. We're inclined to believe this, however unlikely, just because the man can't help but be three steps in front of everyone else at all times. On top of sourcing forgotten gems and format shuffling he somehow found time to produce a remix and two originals just for this outing. 'Pyramid' particularly caught our ear. A propulsive kick and bass line combine under shuffling hats and chopped vocals in an atypically straight up dance-floor stomper. These elements gradually dwindle to allow space for a delightfully melodic, tinkling breakdown which, in turn, dissipates giving way for the locomotion of the bass and kick to return. We're keeping our fingers crossed that this gets an official release as it'd be the ideal replacement for Julio Bashmore's 'Battle For Middle You' that we've played so many times our mp3 has disintegrated.
Four Tet has produced a Fabric installment that could well stand the test of time. The inclusion of older tracks gives it more substance than a zeitgeist mix and the field recordings interrupt the flow just enough to make it a suitable soundtrack for commuting as much as partying. Fabriclive 59 just goes to show how truly talented Kieran Hebden is but also how much effort and attention to detail he puts into all of his work. It marks another chapter, another string in his bow and another set of releases to get ridiculously excited about.
Tracklist
1. Intro
2. Michael Redolfi – Immersion Partielle [INA-GRM]
3. Crazy Bald Heads – First Born [On-Tick]
4. Persian – Feel Da Vibe [Same People]
5. KH – 101112 [unreleased]
6. Youngstar (Musical Mob) – Pulse X [Inspired Sounds]
7. Crazy Bald Heads – First Born (Four Tet Remix) [unreleased]
8. Floating Points – Sais (dub) [Eglo]
9. Apple – Mr Bean [Appsolute]
10. Manitoba – Webers [Leaf]
11. Big Bird – Flav (Urban Myths Remix) [Nice n Ripe]
12. Genius – Waiting [Kronik]
13. Four Tet – Fabric [unreleased]
14. David Borden – The Continuing Story of Counterpoint Part Nine [David Borden]
15. STL – Dark Energy [Something]
16. Percussions – Percussions One [unreleased]
17. C++ – Angie’s Fucked [Music For Freaks]
18. Burial – Street Halo [Hyperdub]
19. KMA – Cape Fear [KMA]
20. WK7 – Higher Power [Power House]
21. Ricardo Villalobos – Sieso [Cadenza]
22. Four Tet – Pyramid [Text]
23. Red Rack ‘em – How I Program [Bergerac]
24. Active Minds – Hobson’s Choice (Tune For Da Man Dem) [white]
25. Armando Gallop & Steve Poindexter – Blackholes [Muzique]
26. Outro
27. Four Tet – Locked [Text]
Fabriclive 59 Mixed By Four Tet is available to pre-order now from Ape and Fabric.
By Matt Allfrey (Battery Powered)
Friday, 22 July 2011
Damon Albarn DRC Music (Oxfam Charity Album)
A collective of producers led by Damon Albarn will visit the Democratic Republic of Congo (DRC) to produce a new album for Oxfam. Travelling with Damon to Congo are Totally Enormous Extinct Dinosaurs (TEED), Dan The Automator, Jneiro Jarel, Richard Russell, Actress, Marc Antoine, Jo Gunton and Kwes. They hope to make an album in 7 days.
Wracked by years of conflict, the DRC is home to one of the world's worst humanitarian crises, and proceeds from the album will go to helping Oxfam's work, helping thousands of the DRC's poorest people.
Damon Albarn is possibly one of the most prolific producers of our era with countless projects under his belt and most likely just as many bubbling away. Damon's unquenchable thirst for new and more creative sounds always results in him pushing the boundaries of whats expected, such as writing a Chinese Opera and producing the Gorillaz fourth album 'The Fall' entirely on the iPad. This project is likely to be no exception especially as it includes the hotly tipped producer of the moment TEED.
You can follow their progress via their dedicated DRC Twitter feed.
Wracked by years of conflict, the DRC is home to one of the world's worst humanitarian crises, and proceeds from the album will go to helping Oxfam's work, helping thousands of the DRC's poorest people.
Damon Albarn is possibly one of the most prolific producers of our era with countless projects under his belt and most likely just as many bubbling away. Damon's unquenchable thirst for new and more creative sounds always results in him pushing the boundaries of whats expected, such as writing a Chinese Opera and producing the Gorillaz fourth album 'The Fall' entirely on the iPad. This project is likely to be no exception especially as it includes the hotly tipped producer of the moment TEED.
You can follow their progress via their dedicated DRC Twitter feed.
Wednesday, 20 July 2011
Kingdom Feat. Naomi Allen - Take Me (Fools Gold)
New Yorks Kingdom is someone we have featured on the blog a number of times whether it be another superbly crafted mixtape or a fresh new tune. Each time Kingdom has put something out there we are always straight on it to have a listen as he has an innate ability to combine ideas from a variety of sources and twist them to his will. For those who haven’t come across Kingdom previously his sound predominately centres around a Bass House, Dubstep type flavour with a tasteful blend of R&B often thrown in. 'Take Me' is just one of those moments and it works really well, in particular the breakdown at 1.44 and the vocals that clock in at 3.12 standout.
Take Me is released July 26th on Fools Gold Records and is backed by the track 'If You Buck' which can be found on his XLR8R mixtape.
Kingdom Feat. Naomi Allen - Take Me
Thanks to Pitchfork for alerting us to this.
Related Posts
Kingdom - FadetoMine Mixtape for Oki-Ni
Kingdom - Uptown Buck (Trouble & Bass)
WeAreBlahBlahBlah EP30 - Mixed Kingdom
Take Me is released July 26th on Fools Gold Records and is backed by the track 'If You Buck' which can be found on his XLR8R mixtape.
Kingdom Feat. Naomi Allen - Take Me
Thanks to Pitchfork for alerting us to this.
Related Posts
Kingdom - FadetoMine Mixtape for Oki-Ni
Kingdom - Uptown Buck (Trouble & Bass)
WeAreBlahBlahBlah EP30 - Mixed Kingdom
Tuesday, 19 July 2011
Solo - Strawberry Swing (Great Stuff)
Bit of a Tech-House day, no sooner had I put the polishing touches to my Camel post and this landed in my inbox. So if you enjoyed the Camel EP this should be right up your street. Solo aka Stefano Ritteri (also of Italian roots) is no stranger to strong releases, what with EPs on Dirtybird, Deadfish among others, and Strawberry Swing is no exception. Right from the off Strawberry Swing (not to be confused with Coldplay's version) will have the dancefloor shuffling to its tight groove, chopped vocal loops and melodic flourishes. Overall this is a club track designed to get you moving, and Im sure it will sway even the most stubborn of crowds.
Strawberry Swing is out July 25th as part of Great Stuff's 'Munich Discotech Series' which has reached its 12th installment and is always worth a listen.
Solo - Strawberry Swing (Great Stuff)
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Camel - Blow Up (Jackmode)
Electronic Artist of the Week #9 - Homework
Strawberry Swing is out July 25th as part of Great Stuff's 'Munich Discotech Series' which has reached its 12th installment and is always worth a listen.
Solo - Strawberry Swing (Great Stuff)
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Camel - Blow Up (Jackmode)
Electronic Artist of the Week #9 - Homework
Camel - Blow Up (Jackmode)
Always been a bit partial to summery Tech-House, however of late ive grown a bit tired of the incessant use of eastern brass type sounds, however there is one producer who never fails to disappoint, Camel. It could be argued that Camel aka Andrea Floris doesnt really vary his style much from EP to EP and the more discerning arm folded chin scratcher's among you have probably stopped reading already. However its my opinion that Camel is simply one of the best at this sound with crisp production, punchy drums, always a great groove, and an impeccable choice of vocal samples and lead hook lines. For me Camel has yet to fail to deliver, and his latest release is another example of what a talented producer he is. If you like the Camel sound you should also check Homework who we recently featured on the blog.
Camel Blow Up - Out in August on Jackmode Music.
Camel - Blow Up
Camel - Blue Room
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WeAreBlahBlahBlah EP33 - Mixed Camel
Camel Blow Up - Out in August on Jackmode Music.
Camel - Blow Up
Camel - Blue Room
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WeAreBlahBlahBlah EP33 - Mixed Camel
Friday, 15 July 2011
The Black Ghosts - When Animals Stare (Album Preview)
Here's a quick history lesson. The Black Ghosts released their debut, self-titled album in 2008 and are formed of Simon Lord (formerly of Simian and currently Lord Skywave) and Theo Keating (formerly of The Wiseguys and currently Fake Blood). In the lead up to the release of their new album 'When Animals Stare', The Black Ghosts have uploaded five tracks for us to sample.
Theo's the man on the buttons here whilst Simon takes to the mic. If you've heard Lord Skywave's output then the vocals will sound familiar, but there's something about knowing the dance floor prowess of Theo's productions as Fake Blood that always makes The Black Ghosts' songs seem surprising. It's like they've been wound up tight with high energy and hands in the air potential but are never allowed to unravel. 'In The Clouds' is a good example. It starts in a broody fashion, slowly building ominously to what feels like an almighty drop. Except it doesn't arrive. Then there's a snippet of that signature Fake Blood bass synth and the skipping drums and just when it's all about to kick off Lord's vocals reign it in for a smooth instrumental break. The other songs in the sample give 'In The Clouds' context, there's 'Water Will Find A Way' which is loaded with subtle horns, a glockenspiel and punchy drums in an updated 1960's film soundtrack. 'Talk No More' has a driving, low slung, scuzz-rock bass line and amusingly, self deprecating subject matter. Whilst 'Forgetfulness' merges folk and dance in the same way Miike Snow's 'Animal' did. Final track currently available to our eager ears is 'That's All There Is' which initially harnesses a reggae rhythm but quickly blossoms into a smooth 80s synth pop chorus. It's an apropriate finale for this sample as it ends with the title's lyrics "that's all there is".
'When Animals Stare' looks like it will continue The Black Ghosts' theme of taking cues from a range of genres and blending them with electronic production and traditional song writing. There's a whole host of intriguing ideas and sounds on display in this teaser but it leaves us aching for something to play on the dancefloor. Previously their choice of remixers has been thoroughly on point so here's hoping the singles will yield some dancefloor friendly versions to be enjoyed alongside the originals.
Tracklist
1. Water Will Find A Way
2. Walking On The Moon
3. In The Clouds
4. Even In The Darkness
5. Diamonds
6. Sanguinella
7. That’s All There Is
8. Talk No More
9. Aurora Borealis
10. Forgetfulness
11. Your Soul Is Free
The Black Ghosts - When Animals Stare is released 25/07/11 and can be pre-ordered from Ape.
By Matt Allfrey (Battery Powered)
Theo's the man on the buttons here whilst Simon takes to the mic. If you've heard Lord Skywave's output then the vocals will sound familiar, but there's something about knowing the dance floor prowess of Theo's productions as Fake Blood that always makes The Black Ghosts' songs seem surprising. It's like they've been wound up tight with high energy and hands in the air potential but are never allowed to unravel. 'In The Clouds' is a good example. It starts in a broody fashion, slowly building ominously to what feels like an almighty drop. Except it doesn't arrive. Then there's a snippet of that signature Fake Blood bass synth and the skipping drums and just when it's all about to kick off Lord's vocals reign it in for a smooth instrumental break. The other songs in the sample give 'In The Clouds' context, there's 'Water Will Find A Way' which is loaded with subtle horns, a glockenspiel and punchy drums in an updated 1960's film soundtrack. 'Talk No More' has a driving, low slung, scuzz-rock bass line and amusingly, self deprecating subject matter. Whilst 'Forgetfulness' merges folk and dance in the same way Miike Snow's 'Animal' did. Final track currently available to our eager ears is 'That's All There Is' which initially harnesses a reggae rhythm but quickly blossoms into a smooth 80s synth pop chorus. It's an apropriate finale for this sample as it ends with the title's lyrics "that's all there is".
'When Animals Stare' looks like it will continue The Black Ghosts' theme of taking cues from a range of genres and blending them with electronic production and traditional song writing. There's a whole host of intriguing ideas and sounds on display in this teaser but it leaves us aching for something to play on the dancefloor. Previously their choice of remixers has been thoroughly on point so here's hoping the singles will yield some dancefloor friendly versions to be enjoyed alongside the originals.
Tracklist
1. Water Will Find A Way
2. Walking On The Moon
3. In The Clouds
4. Even In The Darkness
5. Diamonds
6. Sanguinella
7. That’s All There Is
8. Talk No More
9. Aurora Borealis
10. Forgetfulness
11. Your Soul Is Free
The Black Ghosts - When Animals Stare is released 25/07/11 and can be pre-ordered from Ape.
By Matt Allfrey (Battery Powered)
Wednesday, 13 July 2011
L-VIS 1990 - Neon Dreams (Debut Album)
L-Vis 1990 is probably best known for his forward thinking bass sounds and innovative Night Slugs label which he runs with label mate Bok Bok. Since Night Slugs was launched in 2008 L-Vis 1990 and crew have been hailed as significant contributors to the rapidly emerging bass sound, and of all those involved at Night Slugs it's fair to say that L-Vis 1990 has been arguably the stronger and more prolific producer, and therefore making a full length record seems like a natural next step.
So what to expect? Well, we were lucky enough to get a 5 track preview a few months back and we were quite surprised at what we heard. It was not the sparse bass rumblings and quirky synth sounds we have come to expect but rather a much more rounded and evidently a broadly influenced electronic record. A record that plays to the crowd (in a good way) and not the minority. Broadly speaking the following quote from L-Vis 1990 sums up what to expect from the record.
"In the late nineties the likes of Daft Punk, Chemical Brothers and Basement Jaxx defined the art of the dance music album," says James. "Their albums transcended time and any musical fads, but most of all they took you on a journey. Creating Neon Dreams for me was about recapturing these elements that made me fall in love with dance music all those years ago."
NEON DREAMS is released on PMR Records on September 26th.
Track List
01. Vague Flashes ft. Corey Black
02. Forever You ft. Javeon McCarthy
03. The Beach
04. I Feel It
05. Play It Cool ft. Samantha Lim
06. Shy Light ft. Para One & Teki Latex
07. Cruisin'
08. Feel The Void ft. Para One & Teki Latex
09. Illusions
10. Tonight
11. Here With You ft. Para One & Teki Latex
12. Lost In Love ft. Javeon McCarthy
13. True Romance
14. One More Day ft. Javeon McCarthy & Julio Bashmore
15. Neon Dreams
So what to expect? Well, we were lucky enough to get a 5 track preview a few months back and we were quite surprised at what we heard. It was not the sparse bass rumblings and quirky synth sounds we have come to expect but rather a much more rounded and evidently a broadly influenced electronic record. A record that plays to the crowd (in a good way) and not the minority. Broadly speaking the following quote from L-Vis 1990 sums up what to expect from the record.
"In the late nineties the likes of Daft Punk, Chemical Brothers and Basement Jaxx defined the art of the dance music album," says James. "Their albums transcended time and any musical fads, but most of all they took you on a journey. Creating Neon Dreams for me was about recapturing these elements that made me fall in love with dance music all those years ago."
NEON DREAMS is released on PMR Records on September 26th.
Track List
01. Vague Flashes ft. Corey Black
02. Forever You ft. Javeon McCarthy
03. The Beach
04. I Feel It
05. Play It Cool ft. Samantha Lim
06. Shy Light ft. Para One & Teki Latex
07. Cruisin'
08. Feel The Void ft. Para One & Teki Latex
09. Illusions
10. Tonight
11. Here With You ft. Para One & Teki Latex
12. Lost In Love ft. Javeon McCarthy
13. True Romance
14. One More Day ft. Javeon McCarthy & Julio Bashmore
15. Neon Dreams
Tuesday, 12 July 2011
Arkist & Kidkut - One Year Later / Vanilla Imitate
Continuing the 'Bristol' theme (see post below) the upcoming release on Hotflush features Bristol based producers Arkist & Kidkut with their debut release on Scuba's imprint. 'One Year Later' is an early hours House record that is built around a cinematic bass riff, subtle pads, and crisp percussion giving the track enough energy that it doesn't fall into the 'nice tune, cant play it out' category. 'Vanilla Imitate' follows in a similar vane with the exception that it is underpinned by a shuffling Garage type groove. A real nice package that I will be filing under warm up. Released - July 25th 2011
Arkist & Kidkut - One Year Later / Vanilla Imitate
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Sigha - Sigha EP (Hotflush Recordings)
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Sigha - Sigha EP (Hotflush Recordings)
Monday, 11 July 2011
Real Scenes: Bristol (Video)
A local promoter pal recommended checking this Video out, and Im very glad he did as its a very interesting piece on the thriving music scene in one of the UK's great cities 'Bristol'. The documentary features a number of interviews with key promoters, record label owners and artists all discussing the bubbling Bristol scene. For me this video is a real inspiration as both a promoter, blogger and producer to see the tangible growth of a scene from a single city.
The Video itself is the first part of Resident Advisor's recently launched 'Real Scenes' series. Real Scenes aims to explore and highlight the musical, cultural and creative climate within electronic music's key destinations across the globe.
The Video itself is the first part of Resident Advisor's recently launched 'Real Scenes' series. Real Scenes aims to explore and highlight the musical, cultural and creative climate within electronic music's key destinations across the globe.
What Cities would you include within this series?
Friendly Fires - Hawaiian Air (TEED Remix)
Totally Enormous Extinct Dinosaurs is most definitely surfing the crest of a wave at the moment and he delivers again with his atmospheric Balearic House take on Friendly Fires - Hawaiian Air. Thankfully TEED hasnt made the mistake many Indie remixers make which is to leave the original largely intact and simply add a pumping House beat and a little extra percussion. Love this remix.
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Sunday, 10 July 2011
Stuck on Repeat - Volume 3
Stuck on Repeat simply collects together a load of tracks over an un-specified amount of time that we consider essential listening. As always with these types of things there maybe certain tracks you've already heard, tracks we've missed or accidentally overlooked, so please feel free to hit up the comments with anything you think is indispensable.
In no particular order....
Pearson Sound - Stifle (Hessle Audio)
Instra:Mental - Pyramid (3024)
Boy 8-Bit - Phase IV (This Is Music)
Disco Of Doom - Doomsday (Bowski Remix) (Discobelle Records)
Yes Wizard - Elephant & Castle (Duke Dumont Remix) (Tiger Sushi)
Benoit & Sergio - Everybody (DFA)
Virgo Four - Its a Crime (Caribou Remix) (Rush Hour)
SBTRKT - Right Thing To Do (Young Turks)
Jamie XX - Far Nearer (Numbers)
Rick Wilhite - What Do You See (Moodyman Remix) (Rush Hour)
Sigha - Politics of Dying (Our Circula Sound)
Maya Jane Coles - Senseless (2020 Vision)
Sebastian - Love In Motion (Ed Banger)
Kingdom - Uptown Buck (Trouble & Bass)
SM Soulrack - Do What U Want (1989 Mix) (Tenax Recordings)
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Stuck on Repeat - Volume 2
Stuck on Repeat - Volume 1
In no particular order....
Pearson Sound - Stifle (Hessle Audio)
Instra:Mental - Pyramid (3024)
Boy 8-Bit - Phase IV (This Is Music)
Disco Of Doom - Doomsday (Bowski Remix) (Discobelle Records)
Yes Wizard - Elephant & Castle (Duke Dumont Remix) (Tiger Sushi)
Benoit & Sergio - Everybody (DFA)
Virgo Four - Its a Crime (Caribou Remix) (Rush Hour)
SBTRKT - Right Thing To Do (Young Turks)
Jamie XX - Far Nearer (Numbers)
Rick Wilhite - What Do You See (Moodyman Remix) (Rush Hour)
Sigha - Politics of Dying (Our Circula Sound)
Maya Jane Coles - Senseless (2020 Vision)
Sebastian - Love In Motion (Ed Banger)
Kingdom - Uptown Buck (Trouble & Bass)
SM Soulrack - Do What U Want (1989 Mix) (Tenax Recordings)
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Stuck on Repeat - Volume 2
Stuck on Repeat - Volume 1
Wednesday, 6 July 2011
Electronic Artist of the Week #9 - Homework
If its deep soulful summery house that gets you in a twist, look no further than Amsterdam's 'Homework'. Homework's Tom Waist and Zip Stolk first grabbed the collective interest with their Fissa Tune EP on Exploited Records. The lead track Fissa Tune seemed to get most people into a frenzy over its Middle Eastern pipes and chopped vocals, the sort of track you could imagine Riva Starr banging out. However for me it was the rest of the EP that caught my attention, in particular the filtered funk of 'I Got Two', a sound that reappears in subsequent EP's and in my opinion is where Homework's greatest strength and perhaps interest resides. Whilst the Tech-House Brass tracks such as 'Trumpet Express' work they lack the warmth and depth of the more funk fuelled numbers. Overall Homework are building an impressive portfolio of tracks and look set to build on their early success.
Recommend Listening:
Homework - Rally Racquet Club
Homework - The Street
Homework - Hudson Square
Homework - I Got Two (Fissa EP)
Related Posts
Electronic Artist of the Week #8 - Boddika
Electronic Artist of the Week #7 - Kommune 1
Electronic Artist of the Week #6 - The 2 Bears
Recommend Listening:
Homework - Rally Racquet Club
Homework - The Street
Homework - Hudson Square
Homework - I Got Two (Fissa EP)
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Electronic Artist of the Week #8 - Boddika
Electronic Artist of the Week #7 - Kommune 1
Electronic Artist of the Week #6 - The 2 Bears
Friday, 1 July 2011
Radiohead - Little by Little (Caribou Remix)
We tweeted a little while back that Radiohead were planning to release a number of specifically commissioned remixes of their 'King of Limbs' Album, well that time has come and the first two tracks remixed are 'Little by Little' and 'Lotus Flower' by Caribou and Jacques Greene respectively. To say this must have been a daunting task would be an understatement when you consider the supreme talent that is Radiohead, furthermore having witnessed them play 'King of Limb's at Glastonbury just last weekend I couldnt see what more could be added to these already fabulous pieces of music.
Overall I still prefer the originals, however both remixes are really good with both Caribou and Jacques Greene injecting a little more weight into the mix, with punchier drums and crisper percussion. Of the two remixes Caribou's is definitely the stronger making better use of the source material and adding well suited additional sounds, where as I feel Jacques Greene missed a trick by not making use of Lotus Flowers powerful bassline. Overall a strong package that is available on limited 12" Vinyl July 4th.
Overall I still prefer the originals, however both remixes are really good with both Caribou and Jacques Greene injecting a little more weight into the mix, with punchier drums and crisper percussion. Of the two remixes Caribou's is definitely the stronger making better use of the source material and adding well suited additional sounds, where as I feel Jacques Greene missed a trick by not making use of Lotus Flowers powerful bassline. Overall a strong package that is available on limited 12" Vinyl July 4th.
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