After the release of their acclaimed 1st anniversary compilation, ClekClekBoom Recordings already have another EP ready to go, coming in the shape of a vinyl-only white label from CCB’s co-founder and figurehead French Fries.
Having supplied the imprint’s inaugural “What to Do / One ting Dub” white label in July 2012, the second installment finds the producer going back to an prior analogue jam session, where producer used only his beloved Minimoog Voyager, an old Sequential Circuits drumtraks and the classic TR 909.
Inspired by Chicago’s producers from the Dance Mania era, French Fries also lays down his own vocal freestyle of “Drums-Traxx” across the EP.
The first part, ‘Drums’ uses an infectious acid bassline to cut through an overdriven Detroit inspired groove.
The flipside, “Traxx” is the result of a lengthy jam session with Chaos in the Cbd in French Fries’ studio and uses the same sounds for a different purpose. For this Chicago flavoured version, a 4×4 kick propels the groove accompanied by loose, pitched toms and distorted hats
“Drums / Traxx” undoubtedly drips with old-school Detroit & Chicago House influence but as the impassioned vocal chant of the EP title sprinkled across both tracks reinforces, it is not purporting to be anything but a sincere, superbly executed homage to a classic era.
(ClekClekBoom SC, 2013) Buy here.
I am really excited to have OWSLA give me the opportunity to share some of my beats with you all. In the process of writing my new album I created these two high energy songs. Let me tell you first hand that I have been playing these out for months now and both tracks are absolute killers in my sets. The Joint is a track that melds banging tom drums and 808s asking you to … “Do a Joint” while dropping you into some smokey hip hop influenced breaks and shooting you back out to the other side with red eyes. On track two, Crying Crickets, works around the sound of crickets that rise and make you go mental while dropping you into some nice grimey bass with house and techno influenced beats. I love this one and the way the vox develops in the break. It gets the crowd every time when it drops for the second time. I hope you enjoy them as much as I have. - Worthy
Meant to post this a month ago but better late than never!
Matt Tolfrey’s Leftroom Limited brings you Sam Russo‘s ‘Losing Things’ this March, backed with a remix from Jack Dixon. Sam Russo has had a long running relationship with the Leftroom label and his collaborative EP ‘The Summer Soundtrack’ with Huxley back in 2011 led to a string of further releases on the imprint, pushing Sam into the limelight and helping to spread his wings further afield releasing original work and remixes with the likes of OFF Recordings, Air London, 1trax and Fullbarr. The release opens with the original version of ‘Losing Things’, employing raw shuffled drums, a bubbling sub bass hook and a processed spoken word vocal line as its driving force. The cut steadily blooms in such a state throughout its near seven and a half minute duration, subtly introducing tweaky acid licks and additional perc lines to fuel its energy. Stepping up next is Hotflush artist Jack Dixon reworking title track ‘Losing Things’. Dixon veers the record in an entirely different direction, creating an ethereal atmosphere with flourishing bell chime melodies and a bulbous sub-bass. The track builds to a peak, where Dixon strips back the groove and puts its focus on drums, bass and vocal snippets. Next we have ‘Delivery’, a low-slung house number with a stripped back vibe, crunchy 909 drums lead the way alongside a gritty saw-wave bass and more tripped out, delayed vocal lines. ‘Mailbox format’ follows, a perfect way to wind down the wax side of the release, Russo takes things deeper here with fluttering pads, a moody evolving bass hook and subtle manipulation on the synthesized elements creating a blossoming dynamic. Offered up, as a digital extra on the package is ‘Not Another Juno Track’, embracing a peak-time edge, with punchy drums, a resonant acidic bass and smooth pads. (Beatport, 2013)
Steel-City youngblood Walter Ego turns in a blinding 3 tracker for his second release on Girls Music. A trio of heaters to keep you and yours warm through the end of this never- ending British winter. Listen and imagine sunnier times, cruising in your car with the window down or dancing in the street with your flies down. The vibes are strong and distinctly British. Music for dancing with soul and adventure. Nice one, Walter. (Girls Music, 2013) Beatport here.
In the 3 years since the 1st Brass Wires & Bass album, DJ Delay has played widely across Europe, and made a few tours in Canada, Australia and the US. Highlights along the way were the Fusion (DE), Glastonbury (UK) and Exit (RS) festivals. Now it’s only fitting that the works on this second collection of remixes travel beyond Eastern Europe to include the cream of global music groups & producers. Most of the tracks were well tested & celebrated during this time by audiences across the planet.
From his Berlin studio to the rest of the world, these 13 gems take in roots music from Hungary, France, Romania, Yemen, Russia, Italy & Indonesia. There’s plenty of bass, solid dubbing, dextrous sonic manipulation, and dancefloor attractors within. All done with care in Delay’s inimitable & playful style.
Anakronik Electro Orkestra’s “Terk In America” marries dub and ska beautifully with a bass heavy and upful version with surprising twists and turns, while Watcha Clan’s beautiful version of “Im Nin’Alu” gets a full percussive future dubstep workout. Right after, the Dolomites receive a driving 8 bit bounce for their wonderful accordion rich “Queen Of The Game”. In the Berlin corner Rotfront get new sinewave-ska boots for “Sigaretta” while Stefano Miele’s “Ninna Nanna” is dubbed into outer space. Jallabanda’s version of “Czardas” swings into a Turkish night club and the Skazka Orchestra received a total club reconstruction, adding helium filled vocals to their Russian children’s tune “More”. DJ Delay himself takes a Bavarian drinking tongue twister – transporting it to a Berlin after-hours tech house party. Ever heard of Balkan / Samba bateria? Uzgin Uver and Balkan Mashina get forceful percussive Brazillian future bass workouts with plenty of bounce. DJ Click’s Doctor is a little more subtel, receiving a dancehall steppers treatment – nicely slicing, dicing and dubbing Killo Killo’s vocals. There’s a gentle wind down towards the end of the album with the second Uzgin Uver selection lounging on the sofa in a dirtier Vienna-K&D style. Winding up proceedings with Filastine’s version of “Gendjer Gendjer” – with a politically charged history, exquisitely sung by Nova, we’re treated to an epic orchestral bass soundtrack rework – complete with full choir, string and percussion sections.
(DJ Delay SC, 2013) Buy it here.
Although it has only one release to its name – Happa’s Beat Of The Drum – London club night turned record label Church is looking to be an imprint to keep close tabs on, especially on the strength of this second EP, from young London producer Rumah. Although his debut from last year demonstrated an atmospheric, syncopated style of bass music, “Stutter” shows a marked progression into swung techno styles, with a weighty track full of concrete rhythms and glassy synths; “Murmur” is similarly powerful, throwing acid flecks and sunken vocals into the mix. Meanwhile, Apes & Seb Wildblood offer their own take on “Stutter”, tempering some of the original’s more ferocious attributes with some subtle dub techno elements, while James Fox refixes “Murmur” into a slinky, mid-tempo house groover, whose swelling synths offer something considerably deeper. (Juno, 2013) Grab it here.
In the hands of producer Djavan Santos, a.k.a. D33J, what should be computer-quantized or staid is given light and life. Aquatic textures overlap with bedroom clicks, muffled vocals & vacuous guitar to form hazy late night jams with just enough rhythm for a syrup-drenched dancefloor. Colors change over the course of a song — cool blues melt to hearthy reds — and melodies wind their way through shifting textures while new forms are created at every turn. Though D33J is a solo sound technician, his sound is variegated. It is lush and large and it is alive.
Of course, the 22-year-old’s pedigree demands as much. Los Angeles born and bred, D33J attended the city’s prestigious yet public Hamilton High alongside Anticon’s Baths, OFWGKTA’s Syd the Kid, the FIDLAR boys, and Friends of Friends bit-bender Groundislava. While there, he studied both guitar and electronic music, and caught friends’ shows afterhours when he wasn’t experimenting with software at home.
When D33J moved north to study experimental audio and visual design at the San Francisco Art Institute, he was initiated into the Wedidit mafia (via Shlohmo, Ryan Hemsworth, RL Grime), with whom he nurtured a strongly weirdo cult lifestyle and further developed his unique approach to crafting instrument-infused, R&B-touched bedroom techno.
D33J recently returned to L.A. to claim his rightful place among the city’s vital noise-makers. While he continues to seed the Wedidit BlogSpot with bold R3MIX3S — see clutch reinventions of Brandy, Sigur Rós, and Drake — Anticon is giving his Tide Songs EP the debut it deserves. The five tracks contained therein offer an inventive, brightly budding intro to an artist who’s only just begun to blow the eff up himself.
Having signed a track to Rinse and performed as a DJ across Europe already, the Birmingham hailing DJ, Hannah Wants, has already been present on the lips of a few industry tastemakers. Mixmag tipped her as one to watch earlier this year and she’ll be appearing here in Room Two under the watchful eye of the Roska Presents banner on 10th May. With a style that feeds off bass music as much as it does classic house, she’s fast becoming one of those names that graces numerous lineups, so ahead of her debut in Room Two next month, we sat down with her and asked her some of our cursory introductory questions…
Can you outline the sound of your music as Hannah wants? Where do you think it sits in the current landscape?
I’d say ‘house music’…. Both my tracks and what I play are often heavily bass influenced but I definitely don’t think I could sit in one particular sub-genre of house. It’s all become so cross genre anyway, which I love… You can keep your style and sets really interesting by mixing it up and playing ‘different’ kinda tracks that you’d think wouldn’t ordinarily work together.
You’ve just signed some of your work to Rinse. Can you tell us about the tracks? How does it feel to be launching a new venture on a label as established as Rinse is?
It’s an original collaboration with Jamie George called ‘Butterflies’. Jamie has always been a vocalist that I’ve been interested in working with and together we decided to get something done in the studio. ‘Butterflies’ was the result and I’m excited for the forthcoming release on Rinse. Rinse was the first big radio station I ever played on so I’m proud to now also be featuring on their record label.
What is coming up for you this year?
A really busy and exciting summer is shaping up which includes a three week stint in Ibiza, a few festivals as well as gigging around the UK. Other than that I’ll be working, in the studio and also on the radio loads.
Are you excited about playing at Roska Presents…? What can we expect from your set?
Ridiculously excited! As an up and coming DJ, fabric is a club that I’ve always dreamt about playing at and Roska has always been a leading player in the scene, so I’m mega happy to be involved in such an amazing line up and event.
Hannah Wants & Chris Lorenzo make their debut on Food Music with the immense ‘Dappy’. The infectious grooves and THAT bassline have already cemented themselves with of Claude Vonstroke, Justin Martin, T Williams, plus Food’s own Kry Wolf and Shadow Child, and it now looks set to tear roof tiles and big-top canvas off many more parties through 2013. YUM003 now also comes complete with the even darker remix from Belgium’s shining star Kill Frenzy! (Food Music SC, 2013) Beatport here.
2012 was without doubt the breakthrough year for South London Ordnance. In the space of twelve months the 23 year old artist put out three separate 12”s alongside a five track EP, which garnered support from Jamie XX, Scuba, Benji B, Mary Ann Hobbes, Mosca, Claude Vonstroke, Richie Hawtin and more. His jungle-advised, finely honed productions also rightly earned him notable mention in several annual end of year roundups including DJ Mag’s Best of British 2012, XLR8R’s 4th Best New Act of 2012 (alongside Disclosure and Karenn), and Time Out UK’s DJs to Watch in 2013. With this debut outing on Hotflush Recordings scheduled for March, 2013 is set to be yet another strong year for the young producer. (Hotflush SC, 2013)
Amygdala is Kozes Sgt. Pepper. Its an unreal 78-minute walk through Kozes mind, complete with moods, intensities, sounds and scenes as yet unheard of. It feels more like a double album, urging you to turn over and change the records time and time again. “Amygdala” amazes by its sheer musicality, deepness, and its ethereal sound design; its a kaleidoscope of a great variety of soundscapes where you keep discovering new nuances even after listening to it a thousand times. Nobody else could unite artists like Caribou and Dirk von Lotzow, Hildegard Knef and Mathew Dear, Ada and Milosh in such an organic way and on one and the same record as Koze did. Theres never been anything like it. He weaves new garments around the acapella parts of his guests, garments that only he can tailor, and thats how the album, for all the diversity of its artists, sounds consistently homogeneous and in the true style of Kosi Kos. Its all about the courage to dare, about letting voices resonate undisguised in all their authentic peculiarity. About creating truthfulness. How much can you cut out, when does the flame die down? On the other hand, under which circumstances could it even burn for ever? The album, which in large parts has been composed in a Spanish fishing village, starts off with Balinese gamelan sounds from which a relaxed discoid bass peels off, caressed by mystic backwards basslines, balafon resonances and slide guitar chords. You can hear the ceaseless chirping, twittering and cheeping from all the treetops of Koze’s exotic jungle. High on the odour of the shamans Copal like Snoop, Track ID Anyone is hacking its way through the lush foilage until, out of a sudden, the soft voice of Caribou resounds. “Die Vögel” wave to us from the branch just opposite and orchestrate Dan Snaith’s singing accompanied by smooth horns. Welcome to the jungle! Koze and his dude Apparat share their common grouchy and misanthropic nature. Both of them like to go on holidays on their own and are either perpetually nagging or sentimentally slobbering over something. Theres nothing in between. In “Nices Wölkchen”, Koze presents Apparats vocals (which the singer himself naturally thought were crap, thus plastering them with effects) in an unusually dry and frail manner. The song morphs melancholically through the patterns until it completely mutates to a quivering cloud that eventually empties itself over you with a thousand tears, just like a rain of champaign. The soulful organ of the house music hymn Royal Ascher Cut, staging rhythmically unexpected chord changes and insane African flutes, generates a desire for dark clubs, women and drugs, and follows the principle of the maximisation of emotion by a minimisation of sounds. This track refers to the Spanish court jeweller Asscher, who has been polishing the Crowns gems in the Royal Asscher Cut for generations. Koze had the unique opportunity to get to know his daughter Carol Asscher in G’stad. Her impressive holiday accommodation, which is situated there, its entirely built of oak flambé, imported from Burgundy. In his song Magical Boy, Koze is savouring Matthew Dears heavy baritone: Unlike Dears own production, where he usually embeds his voice in a humming sound carpet, Koze virtually exposes his zappa-esque vocals on a silver tray and strips the music down to the billowing Rhodes. The primal scream-like Ahhhhhhh, which is the most prominent part of the refrain, sounds like the war cry of a lovesick mandrill. Out of a sudden while Magical Boys spacy metallic outro still reverberates in a majestic fashion the galley is slowing down its pace and floating through the driftwood with Das Wort. Alas, on the far side of the bank you can see Dirk von Lutzow slowly waving at us in the evening sun, singing of love like nobody else can do, accompanied by dry, soulful beats with soundscapes of Hawaiian style. The greates poet of our generation, nobody has ever heard him like that before. A turning-point of the album! In the case of Homesick, a Kings Of Convenience track with a kind of Simon-&-Garfunkel charme to it, Adas voice and interpretation lend it the soul and depth of a Soul II Soul track. Slow and low – that’s the tempo. The shit bounces dryly and with a tight bass line around Adas exceptional vocals until, quite unexpectedly, perhaps the most defensive percussion solo of all times sets in. La Duquesa, the most tender and most refined piece of the album, perfectly casual and serious, deep and euphoric, all at the same time, is dedicated to the Spanish Duquesa de Alba, who, as holder of 46 titles of nobility, is even more highly decorated than Queen Elisabeth. Koze is fascinated by this lady: With her peculiarly creepy appearance she seems like a relic from the past era of the Spanish nobility. She is the most pictured woman in Spain and a pop phenomenon. When, in 2011, she married a man 24 years younger than herself, the entire country badmouthed her. Sometimes Koze would love to be that younger man, who the Spaniards dismiss as a legacy hunter! Marilyn Whirlwind is the loudest track on the album. The singer of St. Georg seems to be back in biz and he thoroughly sweeps through the digs at Half-Time. Emerging from a digital error, simple, bouncy and funky, this is just what it has to be like sometimes. This brain saw was produced within 2 hours. A good sign. In My Plans, the New York fugitive Matthew Dear makes his appearance on deck for the second time. Nervous, frenetic sounds carve out the soul in his voice. A dirty slow beat, consisting of no more than a kick & clap, African-sounding refrains, vocoder sparks, broken drop-outs: this is great future funk!! Dont Lose My Mind offers a lot of space between every single rimshot. Never more than two intertwined samples that, in spite or maybe even because of their emptiness, diffuse a warm bliss. Youre instantly craving a pint. Milosh, who lives in L.A. and is originally from Canada, is known and treasured for his androgynous voice. “Amygdala”, the title song, is a wondrously satisfying metamorphosis of joyful chords and mbira sounds. It is perhaps the most beautiful, most gentle song of the album. When played out loud at darkness, it shines brightly and with its spirituality, it is able to heal entire nations. At least thats what they say… Hildegard Knef is, in Kozes opinion, the most authentic singer that Germany ever had. Unheard-of lyrics, pain, courage, humour, darkness, deepness – that woman had it all. 11 years after Kozes legendary remix of Hilde’s “Ich liebe Euch”, he came across the tracks of several songs that he had at his disposal then, and in one single night and with the help of a bottle of the Spanish red wine Espelt, he created this new version of “Ich schreib dir ein Buch”. The samples that caress Hildes voice are all taken from the original tracks and have been recorded with frantic enthusiasm during the kick-in phase of the wine. And you can definitely tell: out of time for the most part. After critical review on the morning after, its been judged just right. Hilde and quantification, some things just dont go together! For NooOoo, the good-bye track, Koze has recorded Tomerle & Maiko. Two very nice guys that he picked up as hitchhikers in Mexico and that hes grown to like a lot. Tomerle is originally from Israel and works as a Yoga teacher, Maiko is Japanese and very microphone-shy. It took Koze almost a whole year of constant persuading to wrench four lines of Hebrew vocals from her. A sweet lullaby for all the blessed nomads.
“Full Of Feelings” is released only 4 months after “Orbiting”. A clear sign for unrestrained creativity and joy. While the A-Side track “Filled”, an eclectic monster, transitions perfectly from the sound of “Orbiting”, “Brim” merges Chicago House and Minimal Techno, before the home listening etude “Boarder” closes the EP with yet another facet of the broad musical spectrum of pretty boy and young french genius Bambounou. (Monkeytown Records, 2013) Beatport here.
Atoms For Peace – the new electronic/experimental super group with Thom Yorke, Flea, Nigel Godrich, Joey Waronker and Mauro Refosco – bust out this dandy BBC Radio 1 Essential Mix. Also check out Amok, their first album, if you haven’t already! Beatport here. Thanks to earmilk for the pic and stream.
1. Chris Clark – The Pining Pt. 1 [Warp]
2. Doom & Thom Yorke/Jonny Greenwood – R Fren [Lex Records]
3. Luke Abbott – Brazil [Border Community]
4. Thom Yorke/Jonny Greenwood – Feeling Pulled Apart By Horses [_xurbia_xendless]
5. Redshape – Man Out Of Time (Major Space Dub) [Present Recordings]
6. Kuodede – Golf [Taxila]
7. Colleen Et Les Boites a Musique – Bicycle Bells [Leaf]
8. Shed – Day After [50 Weapons]
9. Thom Yorke – The Twist (Unfinished Section B)
10. Thom Yorke – Has Been
11. Macel Dettman – Ellipse [50 Weapons]
12. Luke Abbott – Modern Driveway [Border Community]
13. Radiohead – Give Up The Ghost (Thriller House Ghost Mix) [Ticker Tape]
14. Thom Yorke – Harrowdown Hill (C90 Mix)
15. Radiohead – The Gloaming
16. Boys Noize – Kill The Kid [Boysnoize]
17. Other Lives – Tamer Animals (Atoms For Peace Remix) [50 Weapons]
18. Radiohead – Harmonics Loop
19. Bad Autopsy – Ginmixer [Ramp]
20. Phon.o – Fukushima [50 Weapons]
21. Adolfo Coelho – Socana N’gam [Lusafrica]
22. Trim & Riko – Trousers
23. Apostrophi – Average Joe
24. Mr. Oizo – Stunt [Ed Banger Records]
25. Throwing Snow & Louis Vines – Too Polite [Local Action]
26. Steve Reich – It’s Gonna Rain Pt. 1 (1965) [Nonesuch]
27. DJ Tre – Ping Pong Track [Skratch-A-Trak]
28. Aphex Twin – Cilonen [Rephlex]
29. DJ Slugo – Juke Me From The Back Low
30. Thom Yorke – The Drunkk Machine [XL]
31. Firefox & Glamour – Check Da Skills [Gold Philly Blunt Records]
32. Thom Yorke – The Hollow Earth [_xurbia_xendless]
33. Macc & DgoHn – Forget Stuff [Rephlex]
34. Wishmountain – Walkman [Antiphon]
35. Oneohtrix Point Never – I Only Have Eyes For You
36. Alex Cortex – Huyendo [Klang Elektronik]
37. Radiohead – Bloom (Jamie XX Club Remix) [_xurbia_xendless]
38. Abu Sultan – Your Love Made My Head Hurt [Sham Palace]
39. Diplo & Blaqstarr – Get Off (Rob 3 Remix) [Mad Decent]
Following Daphni’s exhilarating treatment of “Runnin,” the dusty squawk-box psychedelia of Sinkane is again prepared for dance floor omnipresence with a new pair of remixes from Germany’s Tuff City Kids and Barker & Baumecker. Running Back label boss Gerd Janson teams with Philip Lauer as Tuff City Kids to create an anxious burble out of “Making Time,” squeezing dry Ahmed Gallab’s processed guitar histrionics and letting staccato bass get tangled in a maze of refracted synths. For “Warm Spell,” Ostgut Ton pillars Barker & Baumecker turn abrupt twitches into a big-room tool, teasing out soft chords over crusty percussion, with Sinkane’s weary vocal chasing after itself until exhausted. Both remixes further reveal Sinkane’s emotional range, as comfortable on a sweaty dance floor as a sunny beach. (DFA Records, 2013) Grab it here!