the minimalists: designers, producers, dj's, vj's, enthusiasts, connoisseurs - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - |
the minimalists/our words/ our reviews (mainly for resident advisor/pulse radio(.net):
Two years back I received the long-playing marvel Close To The Heat (Archpl014), by Jin Choi – I was blown away, Archipel have a reputation for pushing the ‘minimal’ envelope – and none more so than with Jin. It is no wonder that these releases are few and are far between. Dig Your Own Out EP is equally marvellous. It delivers on all fronts – and I find it hard to believe that anyone could not like it. That isn’t meaning to say that this is one of those formulaic releases that ticks boxes and will sell a bunch; but this is a well executed, poetic and artful EP, which holds plenty of bedroom appeal, technical excellence and, it will even make you dance. In fact, the poetic notes of opener Dig Your Own Out are of the ilk that can define moments on dance floors – the pensive piano notes play on your emotions – while the chunk of the rhythm section bumps you smoothly through nine minutes of loose-yourself ether. Hurtlocker is perhaps the most accomplished track here. Jin effortlessly fuses the live instrumentation into a delicious, hypnotic journey. Besides these colourful notes there is an intricately deep and dark undercurrent at work – creating rich and expanding textures. It’s very well orchestrated and it's involving – you’ll not want it to end. The final track, Lost And Found, is more for the dance floor than the others; it packs a punch, with the rhythmic work more the focus. No less melodic though; bells and soft lingering keys build an absorbing pattern that is perfectly punctuated with deep squelches and a tortured vocal stab – which loops right through these eight minutes of organic goodness. A very fine EP. Long live Archipel.
For those wishing to delve a little into the past for inspiration, then the wealth of DJ and production experience Savas Pascalidis holds can offer good listening. He has consistently helped to shape the club scene in Europe (Brazil too, apparently) and his third long-player, Nuclear Rawmance, is a straight up delivery of dance floor purism not to be taken lightly. Those who are already familiar with Savas’ work will recall his italo-electro-tinged beasts for DJ Hell’s Gigolos label, well there is a more fluid approach in Nuclear Rawmance, it’s still “Big” and there is a lot of variety through the tracks – but there is an incredible flow to this album, like a prized DJ set, Savas takes us through a multitude of vibes held together with a solid base of that old skool funk. We’re eased in with the opening track Logic State, which really sets the scene – glimmering atmospherics and the solid, heavy drive of drums; nine minutes of beautiful dark funk. Delta Ray follows in a similar vein before the groove is opened out in tracks Get Down and Sonic Groove, both of which display a masterful grasp of stripped down and dubbed out DJ tools. The vibes take another level in Manipulator, which is drenched in dark, flowing synth grooves and we pick up a more Detroit feel in Voyetra which employs a delicious old skool synth melody over a bubbling bottom heavy 909 style groove. Echoplex harks the filtered disco funk of yore and Magic Orchestra delves further into happy-clapping Neo-Detroit style techno, which is sure to take the unexpecting listener by surprise. From the intensity built thus far, Innerspace is a far more chilled affair, almost an interlude, a moment to bathe and rejuvenate in subtle chimes and warm filtered electronics. A couple of tracks, Web Of Fear and Deep Inside your Eyes are additions taken from 2009 EP’s and with the help of the acid-tinged banger Flash Point, they finish off the album in true bomb style. This write-up is a whirlwind through Nuclear Rawmance, but there is a lot to discover in this album. From the outset this is a collection of upfront killer tracks – and in the way he eases you through this album, you get the impression that Savas may just have one hundred more of these tracks in the works – but in isolation – each track is an accomplished piece of work and ripe to be pounded in every club out there. DJs, you need this shit.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Along with Alex Under, Damien Schwartz et al, Tadeo helped to put Spanish techno firmly on the map under the superb NET28 umbrella. NET28 has since split, but Tadeo continues to release on his own branch, Cyclical Tracks. There is a certain smile to Tadeo’s production. Maybe it’s the Spanish sunshine. Never one to have delved too much into darkness – there is a distinct jazz hand at play, which offers warmth and richness to his sound. This is part 3 of the latest series – and probably the strongest of them. It’s a cosmic trip; there are big sci-fi sounds in here, bubbling bass lines, clean angular hits and enough of those classic hardware samples to retain a little grit and realness. Opening track Paråfrasis De Discontinuidad has a pounding energy to it, but the lack of any defining clap or hat restricts the listener delving too far into the groove. Instead we are held back to observe, and perhaps wonder what that rogue carnival whistle is doing in there, it’s a Latin thing, I guess, a kind of outer-space carnival thing. Oasys is where this EP takes off; a dubbed-out sci-fi melody drives through accompanied by that warm bass charge. There are plenty of twists and switches which keep things fun – and this certainly has a vitality that will get the dance floor moving. Indiferencia Ante La Situación has a more “Detroity” feel. Enter big, dramatic swirling pads and acid stabs, Tadeo builds the intensity levels nicely here, this track is all about the cinematics; and it actually gets quite dark, more a sci-fi disaster movie than a dance floor bomb. Not saying that there is anything wrong with that, though – this is exciting stuff. Series 03 is possibly Tadeo’s most intense production to date and one of the most interesting. There is a clear step from the clean groove focused techno he has released over the years, a step more into the depths, perhaps, a darker side of Tadeo is starting to be unveiled.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Spanish house producer Jesus Gonsev makes his debut here for London imprint Variance with District 1. It's trademark Gonsev, full of that slick, emotive, big room darkness we’ve come to expect. From someone who hates tags in this scene (me), I am reluctant to call this “tech-house”, but I would say that the title track is quite “proggy”, think Sasha and Diggers, late night Renaissance sessions (and I’m pretty sure they’ll be picking this one up too). District 1 builds up from a delicate little groove, with short loopy whispers and heady pads to a monster of a groove. The lack of memorable melody here is put aside for its (in-the-moment) main room intensity – of which is scores highly. Glimpse gives District 1 a lot more breathing space in the remix. It’s dubby, loopy and utilizes key elements of the original nicely. There are moments that you feel could (should) last for longer in this remix, but Glimpse seems intent on keeping the track evolving, catching different grooves throughout rather than letting you settle in too much – but that’s a minor quibble of mine, as a contrast, this is as a superb back-room groover. Gonsev’s b-side, Leave Me Alone, is of a similar vein but a touch slower, with a warmer set of instruments. He soon gives them a good bashing though, as half way through we have the lot of them thrown at us – that is perhaps the “leave me alone” part to this. Aside from that mid-point act of aggression Leave Me Alone is a fairly smooth mother. District 1 EP isn’t pushing any boundaries, but as a DJ tool it’s another solid edition to the Variance catalogue. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - The Monad saga continues at Berlin’s Stroboscopic Artefacts (SA) and it’s Xhin’s turn to step up for vol.3. For those unfamiliar with SA, in a recent interview SA’s Lucy said something very profound: "Every repetitive movement or sound always seems to be the same, but really it never is because our perception changes all the time." With insight like this, you know that releases on this label are carefully considered – you know that this music is made for the right reasons. It is with this quote in mind that we should dissect “Monad 111”.
Dissect is certainly the right phrase to use here, because Xhin approaches his music with the skill and the precision of a neurosurgeon. Opening track “Mind”, is a pounding piece of techno minimalism, there is just enough fodder in this track to stimulate your senses, whet your perception; the scene is sparse, dark and cold and you will get lost in here, so keep calm, and start to let your mind wander around. “Key” is equally dark, but less sparse. There is a swagger and elasticity in the deep kick, while the atmospheric stabs swirl to create disorienting but deadly accurate patterns.
“Mutate” furthers this cinematic journey. And this would be the part where Xhin, the master bioengineer (or what ever he may be now), is creating. “Mutate” will take you by surprise at every turn; the sounds are otherworldly and their relationships unsettled and complex. The orchestration of “Mutate” is timed to perfection and will leave lasting impressions with the deep thinkers listening out there. “Seed” completes this chapter with a lower tempo – there is a high static charge here and the sense of inertia fills you with anticipation, or anxiety – a clever way to finish a very clever and very, very classy EP. Expect it to be picked up and hammered by some of the big boys out there like Klock, or Dettmann. We wait with bated breath for the fourth chapter. Released 15- July - 2010 Macdonald Ali.
Seuil “Chamaeleonidae”, or Chameleon to English readers, is Seuil’s debut album, dropped on Parisian label Welcome To Masomenos. I was drawn in by a promise that ‘it brings comparisons with Garnier’s classic “The Man With The Red Face”’. What, a young Garnier? I thought, surely not. Going back a few years (around four), Seuil was a new face releasing on labels like Einmaleins, EP’s “Permanent Depth” or “She’s A Drummer” held promise. You could hear the influence on young Seuil from the likes of Cabanne and the Telegraph/Logistic/Minibar crew, he had a bounce and jive to his productions, sure, it rode on that ‘minimal’ wave the scene was engulfed in, but it wasn’t as disposable as that may sound. Since then we’ve had a fair few Seuil releases that unfortunately have faded into that mass of digital tech-house, so from a critic’s perspective it is a good time for him to show us where he is going, what this ‘classically trained’ Frenchman can really do. The opening track “Origine” has some nice touches; it’s loose and the percussion has a distinctly live feel to it. But, there is a kind of wah in there that reminds me of a ‘sad guitar’ instrument I had in a free music program ten years back; he’s going for the emotive opener which, to be honest, doesn’t cut it. Moving through “Interlune1” to “Together” and things toughen up a bit. The sound is more progressive, the heavily delayed percussion is punctuated nicely by tight snaps, while swirling pads do create some heady atmospherics. In title track “Cameleon”, Seuil plays the keys while the soulful vocals of Jaw (sweet name) slide through. There is a melancholy to the track (a running theme here), but the lack of real direction, or melody, fail to lift the track into anything memorable. “Saxy Back” features the saxophone skills of Damien Van Dessande and is probably the highlight of this album, “Saxy Back” has groovy percussion, a bubbling bass and Van Dessande’s freestyling sax adds a nice narrative to the dance. The man Jaw is welcomed back on the final track “Rue Sainte Marie”; Seuil’s keys gel nicely here and the melancholic vibe feels more ‘real’, considered and pensive. Obviously this is not a collection of dancefloor Seuil singles, this is an album. But for the home listener looking for a decent accompaniment to their vintage Saint-Émilion tipple, this album lacks in that substance. There are tracks that will no doubt work at the right time on the dance floor, and from a distance there is some sophistication, but there is nothing here that reaches heights, or depths, nothing to really sink your teeth into and as a whole it lacks the promised jazz; Garnier this is not. To conclude further, I’ll add to the ample clichéd wine references I’m sure there already are on French producers’ reviews: fruity on the nose, moderately smooth tannin but a little short on the finish. (Of course they are just my tasting notes). Album available mixed and unmixed! Macdonald Ali.
Autechre Hang on…didn’t Autechre just drop an album? Following up their well-received album, Oversteps, humanoids Rob Brown and Sean Booth delivery yet another cosmic bomb, on Warp Records [of course], just four months later. Almost like the mighty Oversteps was just a decoy… Move Of Ten is like a score to a futuristic alien versus robot war film, except, this flick also manages to involve quite a bit of uncut and oily, robotic coitus. In vintage Autechre form; reflections of battle, chaos, ambience and triumph are served amongst some of Autechre’s 10 most convincing tracks. First move; Etchogon-S, kicks off with militant brute. Off beat and punchy kicks, backed up with gattling-like clicks and snares gears us for battle. Shimmering, high-pitched, glassy shrieks follow, balancing this track superbly (are those laser beam bullets bouncing off a force field?), giving a soothing, less harsher feel overall. Relentless sounds of clashing and destruction keep the pensive listener guessing ‘who’s next?’ throughout this 5 minute shoot out. I suspect Etchogon-S is a very big and powerful laser gun, or cannon. And I want one. y7 is a true reflection of what Autechre can do. It gives us something a lot of techno doesn't even think of offering, and that is mystery. This mystery is conveyed though the duo’s skill of being able to stretch out layers of analogue loops, which syncopate over a gazzilion bars, allowing sounds to transform, meander and morph along the way. Without so much as a high-hat and backed up with a Robert Hood like kick, this bad boy demands respect. I Imagine if the tick of a simple hi-hat was added inbetween each beat; y7 would teleport us to a planet no one’s really heard of before. Champagne Autechre. Now for the robot sex scenes. Track three, four and five is the part of the film where two robots meet (pce freeze 2.8i), flirt (rew(1)) and do it (nth Dafuseder.b). A welcomed display of groove, percussion and sparse, seedy drones, followed by (rew(1)’s off beat glitch and gurgling acid blips and bleeps will get all die hard ae fans bobbing and nodding. nth Dafuseder.b’s delivery of ambience, 4/4 beat, punchy, bit-crushed snares and haunting pads are the rude part mentioned earlier in this epic film. The most emotive move of this Ten, and a real stand out for Autechre, all 23 years considered. Now it’s back to the cold, harsh war. no border reminds us why the robots are here in the first place. Fronted with piercing glitch and harsh white noise, no border couldn’t be more contrasting to the lush ambience of it’s predecessor. Lo-fi analogue stabs balance the feel, but still overall leaving quite a dark and agitated mood. With the triumphant sounds of M62, our robots are back into battle with full swing! Here returns more of the gurgling acid basslines, the 4/4 kick, and hi-pitched leads, reminiscent of y7, but with just not quite as much conviction. Still, M62 displays a lovely balance of a thick 808 kick, laid out with bubbly, delayed melodic leads, giving a very solid, yet dreamy touch. Yes - the robots have won! Overall, Move of Ten still grabs the attention of loyal Autechre fans. Their unforgiving approach to music reigns supreme. Their vast array of soundscapes, ideas and emotion have inspired fans for 23 years. Anyone doubting the quality of this album due to how quickly it was released after Oversteps need doubt no more. Move of Ten is quite possibly their best to date. Sam Parij
Stroboscopic Artefacts - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I love releases like Beta Sampler. These often sit at the back of DJs record boxes for years—or, in the case of this digital release, hard drives—providing that little surprise to break out when a crowd needs a few angles to reach for. Here we have a sampler of "tracks that fuse together the artists' own visions with the label's identity." And the artists seem to have taken SA's identity as their foundation; there is an inspired, anarchic edge to all of these tracks. The UK's Ali Wells, AKA Perc, is first up with "Wooden Art." This is Perc on form, pulling at the confounds of dance floors with his kung-fu breaks. "Wooden Art" is explosive, but disciplined and tight, edges sharpened and splinters flying. Chevel's "Trevisun" is another raw cut. A funky bassline drives through while Chevel gets heavy-handed on the filters; it's a stripped down, solid groover which is occasionally cut wide open with a pounding drill that will have you gritting your teeth. Frank Martiniq visits dub techno territory in "My Visor." It's no vintage analogue classic, but Martiniq builds a luscious melody of delayed pads, industrial touches and tough snares—which works as well in the bathtub as it does on the dance floor. The final track is from Sasse. His "Face2Face With Reality" is bubbling and reflective, its bouncy bass and dubbed-out pads punctuated with a tight clap and vocal stab—a jack to ignite any flagging dance floor. An exciting precursor to some EPs dropping soon on one of Berlin's most promising labels. Macdonald Ali
Fixing the Error Stroboscopic Artefacts - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Singaporean Xhin takes a break from his minimal base at Meerestief to join Berlin's new techno outpost, Stroboscopic Artefacts. The resulting release is a dark and mysterious EP of long-playing goodness. It's a new direction perhaps, but the two tracks here sound accomplished and will win Xhin fans in new places. "Fixing the Error" kicks off with a rumbling and tight sub bass, the build driven with metallic hits and scrapes which gradually open the groove out into a more spacious landscape. It's menacing, but there is bounce and funk here—you won't so much be gritting your teeth as you will be nodding your head. As "Fixing the Error" progresses, so does its intensity levels and by halftime, we're in all manner of abrasive alien madness, nicely held down with that beautifully rumbling sub bass, which gradually works its way back to the forefront. "Link" is less abrasive. It's ultra-dark, unhurried dub techno made for serious sound systems is obviously influenced by Echocord and Basic Channel. The manic stabs grind against a sluggish sub kick, pulling the listener back and forth in the unsettled relationship until the hat offers some salvation just before "Link"'s conclusion. This is an EP of futuristic techno, made in a deep and rooted fashion. While it may not be so pleasing to fans of Xhin's previous output, expect it to be picked up by some of the big boys.. Macdonald Ali
Gmork / So the Nothing Grows Stronger Stroboscopic Artefacts - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - There is a dark narrative to the Stroboscopic Artefacts releases so far. Lucy's first release carried a message of the false reality in which we live, Xhin's "Fixing The Error" was a rise-of-the-machines style workout and, now, Lucy's latest collaboration is an ode to the Gmork. (Neverending Story, wolf-like savage beast changer used to control society, etc. etc.). Appropriately, "Gmork" is a slice of brooding dark techno: a black heartbeat, pulsing, with static swirling in an electrified atmosphere. The build is well constructed and—once settled—there's no alleviation from the pounding. (Which is, of course, the point.) The B-side, "So the Nothing Grows Stronger," has a more mechanic feel to it: the blips and beats grind at each other—it's almost manic—but Lucy and Ercolino's timely interventions create ups and downs that demand repeat listening. The results here are not quite as tough or as abrasive as hardened techno fans may yearn for, but they certainly pack grit, continuing the flow of Stroboscopic nicely. Macdonald Ali
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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