•August 27, 2016 • Leave a Comment
“I’m terrified at the moral apathy, the death of the heart, which is happening in my country.” Deepest political stance mixed with jazz? Must be the return of Fold. They’re back with Something Gives, a jazz-infused track mixed with Alice Walker and James Baldwin. Whether or not you like politics with your music, this is undeniably lovely in the jazzy-infused approach to hip hop. For those that really can’t bear the politics, it comes in an instrumental version as well.
Released on September 12, 2017 Something Gives is essentially a timely vehicle for the keen eloquence of James Baldwin whose voice, along with that of Alice Walker, is the basis of the track.
We’ve been feeling urgently compelled to respond somehow to the heavy sociopolitical escalations of late on both sides of the pond. This release is our way of bridging the distances & expressing our solidarity as human beings. Musically the tune bears similarities to A Tribe Called Quest’s jazzy hip hop vibes and Arthur Verocai’s Brazilian way of joy and despair all at once.
•August 26, 2016 • Leave a Comment
Techno is not only about the drums and the beat. In the hands of skilled artists like Carl Craig it’s capable of delicate emotions. That’s the approach taken by Aural.Node (Jasper Luetkens). The track Inverse Motions is taken from his Clouds at Dawn EP. It is a wonderfully Detroit influenced track, with soft almost handclap beats and an interplay of synths. There’s even a bit of one of those disguised voice things from I’ve-kidnapped-your-love-one films.
Blurb: Aural. Node and his “Clouds at Dawn” EP. Hailing from the capital of electronic music Berlin, Jasper Luetkens has began to make a name for himself in the production area with his Aural.Node production moniker. An artist with a modus operandi demonstrating a “symbiosis between nature and technology”, the Aural.Node raison d’être is to reconcile the “bridge between the highly artificial and technology dependent electronic music and the spirituality of our minds and souls”. Thus, the perennial question of how to develop a musical soul within the rigid, loop-driven structures of dance music is uppermost in the Aural.Node sound.
Building on a noteworthy DJ career with live performances at clubs such as Tresor in Berlin, the ability to create warm analogue instrumentation and organic sounds within Aural.Node’s music has thus seen “Blutmond” for EME now followed by the impressive four-track “Clouds at Dawn” EP for Particles.
The smooth bass prowess found within “Inverse Motion” is a fine example of the range of sounds available to Aural.Node production palette as a pitched vocal treatment adds a slightly sinister edge to staccato rhythms and rasping bass filters. Hitting its stride in the third movement, the combination of rhythm and imaginative melody give the track a strong character. Aptly named, the title track itself is full of meandering pad textures that pitch a weaved path in coruscating glory. A dance floor component comprised of glassy grooved riff is a welcome addition, interacting expertly with strong techno beat and relentlessly pulsing bass line. The result is an ingenious affair that bears comparison with Kraftwerk style Teutonic precision coupled with organic passion.
•August 25, 2016 • Leave a Comment
We’ve had a few things from US label Mesa Recordings. Their thing is downtempo / ambient widescreen sounds. Here’s a rather fine mixtape that takes you on a welcome journey out West (less Slough, more New Mexico). A wonderful 50 minute journey answering questions about what the skies were like when you were young.
This is the first in a series of releases detailing the dreamlike sound environments designed by the Mesa crew to accompany the mysterious and transcendental art presented by Meow Wolf at the House of Eternal Return in Santa Fe, NM – meowwolf.com
•August 24, 2016 • Leave a Comment
Some new electro music from Carl Finlow and Dez Williams on a split vinyl release. This is forward-thinking electro. No tired retreads here. It’s often damning with faint praise to call dance music intelligent but this release requires that title. There’s real thought gone into each of the tracks, with twisting tunes the order of the day. That’s especially the case with Carl Finlow’s Bleem, which is the pick of the tacks here.
On Side A Carl Finlow offers up two tracks of his trademark high standard. In both cases he artfully blends the ingredients that have earned him the respect of listeners and fellow producers alike; intelligence, a strong groove, futuristic elements and that Finlow factor that you can’t quite put your finger on but just makes his material rise to the top. ‘Bleem’ is machine funk at its best, instantly infectious, hypnotic and speaking equally well to your body and mind. It builds subtly and each layer just adds to the pleasure a real escape through sound affair. ‘Chemical Bonds’ follows suit with another carefully concocted machine groove, accented by distorted riffs and a constant reminder from the vocal to ‘Don’t stop’ mid-way through the track you are somehow suspended on the plateau Finlow has raised you to, as a dystopian sci-fi atmosphere swirls around and engulfing you. These are not simplistic tracks; they just feel so right on the ears because the elements weave in between one another effortlessly; because the architect is so skilled.
On Side B no stranger to vinyl and exposure where it counts, a firm favourite of Dave Clarke and many other educated DJs of the authentic Electro sound, Dez Williams delivers three punches; all dance floor killers overflowing with energy. Interference Pattern kicks off his side of the record and heads straight for the jugular; punchy drums, infectious acid lines and crafty tempo changes guarantee a sweaty floor and ceiling at any club. Keeping the pace high Dayzov V1.1 brings a hard, fast, driving groove which strikes nicely at the sweet spot where techno and electro overlap. Lastly Whitey. This sums up the way you feel after the two preceding tracks; head a wash with crazy sounds and rhythms, gradually spiralling into that special place dance music can take you – dazed, confused and loving it.
•August 23, 2016 • 1 Comment
If ambient drone, with plenty of drawn out guitar shards is your thing then have a listen to Vertices from Contrail Vanishing Point. CVP are Alan Maguire & John McCullagh from Dublin. And the track may only be four minutes long but in practice it sounds longer as it offers a timeless place in which to get lost among the clouds.
•August 22, 2016 • Leave a Comment
Pilates pusseh says:
“Prepare for the dawn of a new day with a mermaid side bend to activate your transversus abdominis. This is also a good way of introducing the universe to your furry tummeh floofs.”
Amtrac is Caleb Cornett, originally from Kentucky. Influenced by The Prodigy and The Chemical Brothers, here’s No Order which has more of a European influence than American EDM. This is a swirling, driving, kinda dark electronic track. Properly in order.
Blurb: An epic double hitter, producer Amtrac releases Running After / No Order, out now on Kidnap Kid’s Birds That Fly label.
Amtrac has been pushing his creative limits as a producer, DJ, musician and vocalist since 2008. Through this release, the producer skillfully creates feelings of elation and euphoria sharply contrasted with a moody and melancholic ambience. Says Amtrac regarding the release, “[I] really wanted to make an EP that translated well on the dance floor and at home, which I feel I achieved with ‘Running After.’ ‘No Order’ is like a movie score for the club, diving deeper with it’s dark atmosphere.”
•August 21, 2016 • Leave a Comment
Last Sunday we had a summer selection amidst the golden hues of a summer’s later afternoon. Today, it’s grey and we’ve switched into autumn, with a more than hint of chill in the air. For your musical selection we have GNTN who offer light techno, then something softer from Jason Barty. and finally adorable house perkiness from Henotik.
German duo GNTN have that missing vowel thing going on. Can’t work out what this one is supposed to be. aGe oN TuNe? Go oN TuNa? Whatever? Plexus offers a lovely bit of techno, not too hard but fried to the right side of crispy. Of the track they say „Der Entstehungsprozess von der Nummer hat sich eine ganze Weile gezogen“, erinnert sich das Duo @GNTN, wenn es zu seinem Track „Plexus“ gefragt wird. Beide fingen zunächst an, mit verschiedenen Ideen rumzuspielen: „Und von Zeit zu Zeit hat sich der Track entwickelt. Angefangen hat aber alles mit der Melodie, die sich nun durch den gesamten Track zieht. Anschließend haben wir im Prinzip um die Melodie herum aufgebaut.“ which is something to do with the track being built up around the melody that runs through it.
Jason Barty offers something softer, appropriately enough called Softer. This is from his album To Be Here (see end of this post). It has a little clatter, some reverbed synth tones and a little birdsong. Think Bonobo or some of Zero 7’s more engaged moments. Lovely and chilled. One of those tracks that gets better the more you listen.
Finally, Henotik with A Thousand Questions. This is a return for Henotik and the tune is perkiness personified. A little vocal house tune that for me looks back to summer with winsomeness. Unusually for me, I love the vocal but it also appears in instrumental version if that’s not your thing. Utterly adorable.
Jason Barty – To Be Here ($6)