the minimalists: designers, producers, dj's, vj's, enthusiasts, connoisseurs - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - |
the minimalists/our words/ our reviews (mainly for resident advisor/pulse radio(.net): - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Smallville's latest offering, "Winter" and "Childhood", is from 'the label’s darling' Sven Tasnadi and newcomer, Christopher Rau. "Winter" may seem to be released a bit prematurely. If you're anything like me then winter is the last thing you want to be thinking off seen as we're so rapidly moving through autumn (and in the UK, this is not usually a happy sign). But I guess we have to face it sooner or later and on the plus side, it does usually prompt some comforting, warm, soulful music to be released. Sven's "Winter" isn't really providing that warmth here though. It's perhaps taking the title more literally, going outside. The percussion is fairly stark, the pads are cold and the atmosphere quite frosty. That's not necessarily bad though, the wee crystal chimes and the windy synths are crisp, and refreshing. One could be out in the hills, wrapped up warm, feeling a crunch of frost underfoot, seeing one's breath in the air and Sven has quite possibly supplied a decent soundtrack. And it will probably work on the dance floor too, but almost certainly it will be an educated dance floor, and very late at night. Christpher Rau's B side "Childhood" plods along in a slow House groove, it's that intoxicating pace that keeps you open – waiting on every detail – and it slowly draws you in with its melancholy tones. The short but sweet, call-and-response pads are used like voices over subtle hints of children playing. This doesn't really sound like a happy childhood. There is sadness in this record. But, from hard times come good and Christopher's "Childhood", although probably not the club play from this release, will be more likely to make an impact at home – and on a label like Smallville that will surely mean good times and a bright future.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Swedish Techno don Samuel L Session AKA SLS or Mr Samuel Larsson has been producing since the early 1990s. It was in the late 90s when his sound really started to take effect – and in 1999 his release “In Your Box” was picked up on in Detroit by the likes of Jeff Mills and Derrick May. Since then Samuel's big warm basslines and punchy percussion have planted him firmly amongst the game's top ranking. The culmination of these years is "The Man With The Case", Samuels debut album. With the word techno so often being thrown around by DJ's playing anything but, "The Man With The Case" is said to be 'a stark and original album project to remind us what the real sound of Techno is'. That's quite a claim, and not the first of it's type to be made this year. "Time" opens this album, and it is straight in there with a thump and a warm filtered bass. Instead of taking the 4/4 drive you expect "Time" drifts into a dreamy atmosphere of analogue synth lines. There are a lot of big sounds going on here, but the work is in the orchestration; the switches and the layers, which rise and fall beautifully to create the textures. A start to the album that ably marries the old skool with the new and wets your appetite perfectly. Next, ‘Chimes’ is a rolling groove, again with that analogue punch. The atmospherics are not so prominent here; the groove is weighted equally to the dance floor and to space, with a bouncy metallic bass playing centre stage. 'Tronic' is a thumper, pure Samuel L big-room fodda. Heavy kicks, rolling bass and a heavy bending synth line providing more than enough uplift for peak-time plays. Samuel's firm nod to Detroit cuts right through the album, there are big, gutsy synths and pads everywhere, it's raw sounding, but with slick, modern production. The result sounds impeccable and gives tracks like 'Lucious', 'Past And Present' and 'Clear As Day' a quality and a texture that carries you through the album nicely – without a feeling of complacency anywhere. ‘My People’, 'The Soloist', ‘Big Bad Drum’ and 'Sectins' are powerful uplifting techno cuts. The driving, bouncy percussion married with the moments of darkness create a nice balanced depth – giving space to breath. 'Tight Stack' has a more retrospective feel. The tempo is dropped a notch, the synths are warm and spacious and the groove is in more of a house territory; a lovely aquatic after-hours cut. Rounding up the album is 'Pulse'. Again, a more retrospective feel, the bass is heavy but soothing and the pads are warm and dubby. 'Pulse' doesn't try to do too much apart from give you a moment to regroup, reflect and ponder the love and dedication Samuel L Session has put in. This album is very atmospheric, creative, cinematic and deadly in places. 'The Man With The Case' definitely is a reminder of what the real sound of techno is, and should be. 1. Time2. Chimes3. Tronic4. Lucious5. Past and present6. My People7. The Soloist8. Big Bad Drum9. Clear As Day10. Sections11. Tight Stack12. Pulse Released 26 Oct 2009
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - After nearly four years of acclaimed Techno output, Berlin’s mysterious, masked figure has landed an album on the superb Dutch label, Delsin. Looking behind the curious name, the hype, the romance, theatrics and the mask, Redshape lives up to all and above. Techno made with knowledge, understanding and machines. Gutsy, edgy and out-there; Redshape’s sound is about raw ideas and emotions, pumping with adrenalin, but sophisticatedly crafted. As the title suggests “The Dance Paradox” is a complex album, atmospheric, but grounded. Classically forward-looking, “The Dance Paradox” unveils more of Redshape’s vision. Although the tempo remains sturdy throughout, there are intricate beat arrangements and deep exploration of balance, design and sonic relationships found here. The sense of live recording and hardware processing is a common theme; that signature grit of Redshape you do well to find in highly polished, purely digital recording. To me this gives the Redshape sound a more personal feel, it’s more heart-felt and true – I believe in this music. This quality is immediate in the album, as the opener “Seduce Me” slides through with a texture of torn velvet. “Garage GT” is a tougher beast. Centering on a short melody punctuated by key stabs and a synth line –subtle accents rise and fall – the track is a constant work in progress, organic and enchanting. “Bound (Part 1&2)” is a suspenseful track. A slow-builder, preparing you for something. But when you want that Redshape horror to be unleashed, we are taken the opposite way, into a deep space of ambient atmospherics. And now we’re starting to get it. “Man Out Of Time” and “Globe” carry that air of drama well, but “Rorschach's Game”, like a great film, will require re-runs and like all great music has strong cinematic values. The alien landscape created in the atmospherics is mystic but friendly, there is a suggestion of foul weather and in the beats lay edge and menace. It’s a fine trip, another short story to get lost in. “Dead Space Mix (edit)” is less dramatic, a short interplanetary break, if you will. “Dark & Sticky” concludes the album. Thick with tape hiss, static and fuzz, the loose, live drums create a dubby, inert slug, that when played loud will fill you with anxiety while making your hairs stand on end. It is an interesting end to the album. Perhaps designed to leave our appetites wetted; although there is great depth, intensity and soul – there are no epic peaks to this album and we surely haven’t seen the best of Redshape yet. I would view “The Dance Paradox” as a taster, the main course will come out when it’s ready. Until then, this is a must-have for Techno enthusiasts. Macdonald Ali 2xLP + 10" Ltd (80dsr-lp ltd) / release date: October 2009 a1. Redshape - Seduce Me
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - "This is my best album for sure", proclaimed Berlin born and bred Todd Bodine. Six months in the making, Forms has been promised to be a Detroit-inspired mind-trip, filled with before and after club experiences, mature expansions on his previous acclaimed releases. This is to be expected from Bodine – a producer at the top of his game – club music that has thump and balls, leaning more to techno than house with consistent raw quality. His last album on the world famous techno imprint Tresor still stands up proud; 'The Way Back', 'Terminal B' and 'Monkeyrabbit' ceaselessly fit. Tough rhythms with heavy bass that maintain funk and swagger, it's grown-up electronic music that nods clearly to the techno of old. This album displays the peak-time euphoria of Berghain in abundance, weaved with the visions found in his deep, sophisticated use of synth laden melody. 'Forms' is a collection of trips designed to work on many levels, whether in the headphones, car or club. Not an album just for those in the club scene, but a showcase of fine, mature electronic music to be appreciated by all. There is a nice flow to the album, from the ambient, lucid feel in the beatless opening 'Space monkey', through to the slow burning techno in the first half of the album – which expertly builds this cosmic journey from the bathtub to the dance floor. The 'Interlude' marks the half-way point with a fusion of tribal licks and sinister, epic Detroit key stabs. The second part of 'Forms' is where Bodine walks us further away from the comfort zone; the emotive and dark 'Bad Weather' is a dub-techno trip through deep space territories, which reels in the listener – while keeping them firmly on edge with thick and dark, reminiscent atmospherics. 'Stormy Weather' and 'Twister' are no-nonsense shut-up-and-dance tracks that will leave any DJ with a hard act to follow. 'Stormy Weather' cleverly builds from a restrained dance floor moment into a synth-laden beast with tough analogue keys and 909 style claps. 'Twister' is more what we come to expect from Bodine; the off-key blips and cutting analogue bass; a peak-time hands-up banger. Upon listening to the album, the final track 'Mooving Lights' will be almost a literal translation; mellow, pensive and sensitive. A loose, flowing beat, soaked in layers of synths that create a perfect cinematic mood to finish on. 'Forms' rides the Detroit wave that we have been slowly feeling our way back to – and Bodine plays it with ease. A journey made without cheap tricks or fillers; 'Forms' is a labour of feeling, passion, creativity and a true Techno soul. Don't call this 'tech house'. A worldwide Todd Bodine tour is currently in the pipeline. Bring it on. Macdonald Ali. 4/5 releasedate vinyl / cd:26.10.09
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - London label Multi Vitamins’ latest sonic meander is on a deep and minimal tip. Touches of jazz, quirky pops and cheeky clicks, courtesy of Swiss, Gregorythyme. Gregory made a brief appearance on MV last year in the MVD002 EP, where his cut ‘Nesquick’ delved his mysterious side, with a dark and spacious minimal tune that did the rounds nicely. But, he’s probably better known as half of Digitaline (alongside Laps) through their success on Luciano’s Cadenza label. ‘La Flemme’ kicks off this release; jazz keys touching here and there, vocal snippets, taps, tubs, all used quite delicately. ‘La Flemme’ is nothing inspiring, but it’s got momentum and coasts by reasonably well. ‘Echno’ catches the attention better; a deep swaying bass, flanked by sharper hits and stabs while the atmospherics creep in to create a bit more drama. It’s a dark and moody number, nicely produced and easy to get lost in. La Flemme EP keeps Multi Vitamins in the running, sticking to their experimental guns – there is no sign of MV taking the easy road along the more conventional sounds we are hearing from a lot of the ‘minimal’ labels of late.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Mo’s Ferry is an important imprint in these times. Often labeled ‘minimal’ but far from a formula label, they look for a wonkey, angular take on what’s happening in the scene and offer DJ’s secret weapons that can surprise, ignite and change dance floors. Mo’s has turned up the heat lately, especially, with a string of strong party time releases from Hidenobu Ito, Mossa and Marcel Knopf, so it would seem a fitting time for Dutchman Kadar to return to the label with his big room banger, ‘Mi Locks Got Longa’. ‘Yipyippyip’ is a straight forward driving groove, with a tough, solid sub bass, over which abrasive ragga vocals ride with the infectious “Yip yip yip yip”. I don’t think this is a tune to ponder. If you imagine the big-bearded long-locked engineer deep in concentration, painstakingly tweaking and twiddling intricate textures, this is the bit of that set where he exhales, looks up at his audience, jumps around and pumps his fist. On the remix, Dave Aju finds a different route, slowing the tempo and cutting up the groove, Dave utilises the vocals and introduces some keys carrying a touch of melancholy. Creating an alternative that sits somewhere between the dancehall and the lounge, which is a nice contrast to the original. ‘Neal deepersma’ on the flipside dons heavy touches of glitch, pops, clicks over a warm thumping bass. It’s a chugger, but chugs by uncomfortably. The spacious atmospherics in here seem an ill fit and although there are several changes in direction throughout, it lacks charm and loses its appeal fairly quickly. This record is all about the yipyip on the other side. I would expect ‘Yipyippyip’ to be spun at lots of very big mental parties, a-la Jesse Rose or Switch, but I don’t expect it to stay in the box as long as other releases from Mo’s. Check Mo’s Ferry website for a free bonus download: HYPERLINK "http://www.mosferry.de/releases/mfp045.html" http://www.mosferry.de/releases/mfp045.html Released: 24 August, 2009
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - London output Metroline Recordings was formed in 2005, when three Techno enthusiasts decided to put their heads together, create a label and release the style of music that they loved. Their label and it's digital sister, Metroline Limited, have come a long way since and are proud of their ever-growing catalogue. Deep, unusual and often quite daring – in a time and place where the big boys rule the charts and the safe route has been so heavily carved out. "The minimalistic sound of the Berlin club scene gave me the basis for this sound... I bring my sets on a point, there they don't have safety or certainty" says Berliner Safir. His production is fairly stripped, not over-produced, allowing the elements to shine through, which radiate plenty of soul and warmth. The opener to this release, 'Air Breath', is a strange little tune. The melodies are short and 'Air Breath' never quite settles into a groove, "freeform" perhaps, to me it sounds like it's trying to do too much – a little frustrated – lacking conviction or direction. But the EP gets better. 'Casa MIA', is a sparse and unhurried place; vintage synth washes, heavily filtered voices and lose tom's create a dark, but friendly atmosphere. Horn stabs and a well balanced repetition create a decent after-hours groove. 'Juame I' also features Safir's sleepy, breezy brass, with beats that are delicate, but tight and punchy. 'Somebody' is more upbeat; percussion heavy with claps, tom's and timbales playing for dominance throughout. 'Somebody' is certainly the DJ pick – more than your average 'tech house' cut for the dance floor. 'Tessa EP' is a nice little trip, you may not fall in love, but it's an enjoyable ride while it lasts. The Metroline twelves are the weapons to hunt down. 3/5
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Madrid’s Jose Cabrera aka Kasper has quickly emerged as a producer to watch. His “Morning Comes EP” and “Soul Central EP” have displayed a fine palette; visions of the classic house values, nicely balanced old skool percussion worked in pounding, modern hypnotic grooves. “Chicago Take” is the no-nonsense side of Kasper, a straight up House record made for DJ’s. Title track “Chicago Take” is stripped down, the tight but funky bongos ride over solid 909 style percussion, while the filtered bassline does the work. This is a simple House tool that will be a dream for DJ’s to mix with. Lauhaus takes the elements and uses them pretty much as intended. He keeps all the funk and bounce and just accentuates the flow with heavily delayed keys and a vocal stabs. Not quite so much a remix as a Chicago Take Part Two, and probably the pick of most DJ’s. “Just A House Groove” follows a similar approach. The groove is stripped to a simple, funky flow. The emphasis here on the spoken word vocals which talk of Independence Day and the struggle of the black man, in a place that is not so free as it may like to boast. Simple synth rises soak through the groove, radiating a warmth that picks the track up a notch. I’d like to think that “Just A House Groove” is a little more than, just another house groove, it’s not a song, but it’s more of a track in its own right than “Chicago Take”, which is for me, just another house groove.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Young Dutchman Guy Blanken AKA Makam is on fire. With ashes still smoldering from his bomb "New York Hustler", he landed an apt follow-up ' Deep Loving' on Sushitech. For an artist so young [22], Makam produces with the kind of natural grasp of House you would expect from people he has probably grown up admiring. His restrained and low-slung grooves chug expertly along the layers upon layers of expertly filtered strings, keys and lush chord changes, creating unique, soulful tracks that feel as timeless as they do forward-bound. Makam's tracks are a labor of House, the result of many nights not in a studio, but dancing worries away in a club. 'Deep Loving' is three tracks of blissful grooves, nicely diverse and full of Makam punch. 'When You Love Somebody' is a hypnotic big room groover. New York style deep house vocals smooth out the punchy rhythm as it subtly builds – leaving you lost in the haze of clubbing memories. The kind of track that falls and rises so perfectly it could easily run on and on without tiring. 'La Fem' is more of a DJ tool; a vocal loop and simple Rhodes style keys over a chunky groove. Title track 'Deep Loving' is a cut that borrows directly from the funk of The Temptations "Papa Was A Rollin' Stone", which is a sure fire for the local disco. This EP is all about 'When You Love Somebody' and shows real promise for Makam's forthcoming album, due to hit late 2009. 3.5 / 5
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - The beauty of Italian duo Minimono (AKA Ennio Colaci and Fabio Corcos)’s production is that it calls for no lazy journalism! Their sound is defined, but not easily catagorised. Minimal style production, quirky snippets, playful chords, then, the lush deep bass, soulful keys. They create a fun vibe; filled with the depth of deep house, but lifted with their cheeky microhouse touch (probably defined on their seminal ‘Tono EP’ on Telegraph). They have stayed true to their vision and made serious dance music that stands the test of time. Over the years people have referred to their releases on (top) labels such as Telegraph, Tenax and Turning Spork as ‘minimal’, ‘tech-house’ or ‘deep house’, 2009 has been a good year for Minimono, their release on the Love Letters From Oslo project and their Bosconi smash ‘Grapes’ have been doing the rounds since January. Now they are back on Bosconi, with a slice of Italian sun-ripened summer dance floor action. ‘Let Me Wonder’ sounds like the kind of record Minimono have been aching to make for years, it’s them at a party, letting rip! It kicks off with the filtered bass and guitars; it’s PHAT, circa 1999 dancing in your pants stylee. Woven in are the punchy Chicago style vocal stabs and the disco strings, which playfully lift the solid groove and create a peak-time banger that plants them straight on this summer’s floor-filler charts. ‘Fog’ and ‘Little Liars’ follow in a more laid-back style. ‘Fog’ is the slightly tougher cut of these two, continuing with the disco feel, the delicate synth keys and string stabs are there, but ‘Fog’ is more typical of Minimono (not a bad thing). ‘Little Liars’ has a delicious, summery vibe, Rhodes style keys and guitar plucks – in a drifting, blissed-out groove. It’s very tight and slightly lacks the organic feel you may find in similar releases on labels like Yore or Quintessentials, but it’s a nice slice of deep grooviness nonetheless. As the title suggests – this is music to let your mind wonder – and delivered at the perfect time of year. Minimono are on the button. A. Let Me Wonder http://www.juno.co.uk/ppps/products/362663-01.htm
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - A lot of ‘tech-house’ seems to get a digital release, passed around and played out, but lacks longevity, regurgitated formula with the same old sounds, meagre entertainment. Canadian Jay Tripwire always sits left-of-centre, looking for a direction and an angle, bringing a solid idea to life with conviction. Similarly to the smooth, over-produced electronic deep house sound championed by the likes of Drum Poet or Deep Vibes, Tripwire’s sound has that sultry air of sophistication, but brings a bit more raw soul to the plate. Perhaps the result of his North American DJ past (and his 100+ releases and remixes to date). Tripwire’s previous album ‘Gemini Soul’ featured a handful of dance floor bangers (namely ‘Call + Answer’, ‘Denman Place’ and ‘Body To Body’), DJ weapons that will still rock any flagging dance floor and, his recent excursions on Tonality Records have further explored his forward-looking dubby and soulful sound – to a glowing response. His new offering ‘4th Destiny’ may not offer the immediacy of those releases, but the pressure is there, albeit in a much darker mood. ‘Visual Spectrum’ aptly opens the release; a bass-heavy brooder, sluggish, dark and reserved in it’s build – this is not a stand-a-lone track, but a taster. ‘Save Each Other’ continues along a low and dark path with the vocal tones of Marie Tweek adding a touch of melancholy. ‘Save Each Other’ is silky-smooth, perhaps more suited to the car stereo on a rainy drive home than the dance floor, no surprises, but a solid vibe. ‘Metropolis Of Light’ and ‘Visions’ carry the vibe well, expertly produced, spacious and dark, pensive tracks with just enough edge and thump to work a discerning dance floor. The surprise in the EP is ‘Next Level’, which delves deep into Jay’s atmospheric bank. A cut that builds very nicely; reserved and intelligent, Detroit-inspired synths layered over the ever-changing structure creates a colourful palette – deep, textured and organic – a future vision with a nod to the roots, Tripwire at his best. ‘Time Is Eternal’ features some of Tripwire’s signature vibes, sax stabs over that mellow, bumpy bassline. Jacking but dubby, smokey dance floor fare, ‘Matter And Spirit’ passes by in a similar tone, but ‘Essence’ draws further from Detroit; a rough bass, sweeping synths and delicate keys. ‘Essence’ is nicely balanced and has a good energy about it, made purely with a dance floor in mind, it will have devastating effect in the hands of the right DJ. ‘Do Me This Way’ is a deep acid-tinged track, again we have all the sweeping synths and effects that take this into the smooth deep house territory, but it either lacks a punch, or has too much of a punch, it’s going neither way, really. The vocals of Alexander East don’t quite gel and the 6.5 minutes seem to lack conviction. Overall, ‘4th Density’ is a solid EP, it’s drawn from a darker and more ‘techier’ place than most of Tripwire’s releases, it doesn’t present the wealth of ideas or reach the highs and lows of his 2007 ‘Gemini Soul’, but I have the feeling most tracks here will rock Fabric’s sound system and my appreciation will grow further in the headphones. 3.5/5 Written and produced by Jay tripwire for Seasons Recordings. Seasons Recordings SEALP-04 p & c Music, Soul , Nature TRACKLISTING:
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - While ‘techno’ seems to have been the word on the street over the past year or so, the level to which this ‘techno’ has rang true is dubious. With so much weak, uprooted music around being pushed on digital releases and in clubs as ‘techno’, we have to remind ourselves that Techno is as powerful and strong as ever. None more so than at James Ruskin’s Blueprint camp. Following his release under the O/V/R guise with Karl O'Connor, Ruskin returns solo with two cuts of solid, dark techno purism. ‘Sabre’ may not carry such abrasive vibes as the O/V/R work or previous Blueprint releases, but it maintains all the underground edge, energy and creativity Ruskin is renowned for. ‘Sabre’ brings the gentle hovering of a light sabre and tangled, electrified communications panning around your head. The start to ‘Sabre’ is dark, really dark. After a couple of minutes the sub-driven kick is introduced and the tangled sound slowly starts to form patterns. Shortly after his subtle hats enter the frame, Ruskin gives us a minute beatless while he further tangles the sound. When the kick is reintroduced it is defined and the groove is with a deep swing. The way Ruskin uses the metallic, tangled sounds to create and push the arrangement gives Sabre edge and menace, while balancing the track perfectly. This track demands attention to the DJ and deserves to open techno sets around the world. On the B, ‘Massk’ gets straight down to business with the heavy sub kick creating a steady wall of sound – as the atmospheric elements are gradually painted in. The vibe is another chapter to ‘Sabre’; the landscape is the same distant and unfamiliar territories, but the emphasis firmly in the groove. ‘Massk’ comes alive ¾ the way through when the channels are stripped and we are back in pure techno mode. This is where the kids (into techno) wished they could be. But you won’t be hearing this at any old club, any time soon. You’ll have to wait for those rare occasions a techno master such as Ruskin, Hood or Simms comes to a club near you, in the wrong hands or on the wrong sound system this kind of music is wasted. With more releases from Ruskin, his O/V/R project and new recruits to the base, Blueprint is firmly back and set to push techno once again through 2009.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - From its humble beginnings at a mid-week Shoreditch basement, London label Multi Vitamins has steadily gone from strength to strength. While many ‘minimal’ labels have followed trends and stuck to a safe passage, MV have strived in their minimal house and techno explorations, keeping us guessing with a catalogue of charismatic releases. Call It Boabie EP is Multi Vitamin’s 12th digital output; it comes from debutant Jason Glanville and serves as another surprise in MV’s sonic excursions. Malicious Intent kicks off with a tight and driving low-slung loop. The keys then open up the groove, with spacious, melancholy tones. The undecipherable spoken vocal snippets add a slight edge and menace, but the way in which they are used is playful. The elements feel somewhat detached in Malicious Intent, rather than taking one direction it settles for a cut that is nothing more than 7 minutes of pure dance floor fodda. Call It Boabie is a more involving track, with a live, loose and spontaneous feel. The sounds are nothing unusual, but the quirkiness of the production gives Boabie a thick funk over the deep bass pound. The hits are lively and directional, with plenty enough drops and twists to keep the kids on the dance floor excited. The (more discerning) standout track is Project 8, which brings a touch of jazz to the EP. The sleepy bass and bluesy sax create a smokey, stoned, infectious groove. The rusty hats lift Project 8 nicely for the dance floor, while the sparse spoken words create a dark, backstreet narrative. Another quirky little number, which can be slipped nicely into a set at wrong o’clock. Call It Boabie EP may not have the depth or longevity of many MV releases to date, but it certainly offers a slice of summer fun.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Raw, fresh and deep house music is coming out of London lately, none more so than south Londoner, Wbeeza. Third Ear Recording’s 100th release; New Skank is the beeza’s second EP to land – and it has hit with a punch, rocking heads all over the capital’s dance floors, and now worldwide. Wbeeza’s grasp of house is set to take him as far a field as Japan, South America and representing London at the infamous Secretsundaze club night tour in Barcelona, alongside dons Ame and Dixon. Wbeeza’s production is refreshing; clearly mood driven, stone grooves. At first you may believe New Skank has come from a Detroit head, or at least someone with 10 years more under their belt than 23 year-old Wbeeza, all the jazz, depth and undertones are there. But this is definitively London music. New Skank opens with War Fear, a heavy, underground house monster. The relentless low kicks chug, while playful hats lift the groove just enough as not to get too lost – while a perfectly processed vocal commands “brothers and sisters better prepare, we are living in the age of psychological warfare”. War Fear is a brooding, edgy mood builder, a DJ weapon that will direct any dark, smokey dance floor. Roks Dogg is kept deep and brooding, a low synth slowly builds the groove before the powerful riding hats take over the motion, a loose and deep house track, which shows restraint and intelligent usage of the few elements involved here. On the B-side, He So Crazy opens with Wbeeza in a lighter, more playful mood. The filtered keys bounce off the bass, while a female speaks of “he so crazy”! Again, the percussion is restrained and, while maintaining a bounce and a punch, He So Crazy could probably benefit from a remix to take it into the big room, but rest assured, over a phat system He So Crazy works as the peak-time cut from this EP. The final track, Hurricane, shows some serious depth to Wbeeza’s production; the lush deep synths and the vocals of Tina Penni Anne take this EP to another level. Despite the track name, Hurricane is a smooth, perfectly programmed, intoxicating cut, as much at home in headphones – as the soundtrack to a train journey. It’s tones are in a colourful, reflective mood and the beat programming is positive, Hurricane is a track that will stand the test of time and this EP will remain in the discerning DJ’s box for years to come. Overall, New Skank EP is a gem in Third Ear Recording’s already star-studded catalogue and, a worthy follow-up to Wbeeza’s bomb debut 2008 EP, Heavy Stuff, which if you don’t have already, then ! http://www.myspace.com/wbeeza
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Pi bossman Thomas Isaac comes through with his Mirrors remix, and a super b-side, taking it down into a darker place. This cut starts slow, quirky and bass heavy with a trippy, mashed up vocal slapped into the loop. The pads help it build into a loose, chunky groove, that, 5 minutes later, will leave you wondering where the last 5 minutes have gone. Isaac's cosmos is where my friend. The edgy, slightly under-produced quality of this remix is it's quality, and the texture that balances Jesus' original cut nicely. A basement banger. Paul Loraine's cut eases by in a more familiar manner, nicely composed and produced, smooth, with warm, bubbling bass. A nice track to drop into a warm up. http://www.myspace.com/pirecordsuk Out on strictly limited edition 12”
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - The title track is soaked in lush pads and pensive melody. The delicate sounds (reminiscent of moments from masters such as the LTJ Bukem) and subtle tonal changes create a spacious, lush and vibrant landscape. Positive and meditative without descending into abyss. This is deep, but colourful stuff. And perfect headphone fodder. On the remix Langenberg gives the title track a shower and shave, and takes it out for a vodka. It's kept deep, but the more defined hits, cymbal rides, bouncing bass and loopy old skool vocal cut should offer more than enough to get a dance floor grooving. Dropping early in the evening or peak time, in capable hands, this can be slipped into any set and work it out. Support from Jimpster, Afrilounge, Brothers Vibe, Moodymanc, Agnes, Franklyn Da Costa, Riperton, Osunlade, Brendon Moeller... nuff said. I'm a bit late to post this review here (the record was released a month or so ago), but, for those that haven't seen it (or heard it), check it. AND to those of you that DIDN'T come to see Art when we had him over to play a year ago, shame on you. You'll have to wait until he plays Fabric now. https://www.beatport.com/en-US/html/content/release/detail/155613/Escapism%20EP |
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Hi. check out accidental records for some musical inspiration |
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