caviar and champagne

Ah, finally back! After a wild week of working while sick (see Sunday's post), I've recovered my senses and my sinuses enough to post again. So, on to it.

The first track of this post is a yet-to-be-released work from UK-based Breakage, otherwise known as Jamie Boyle. The DJ and producer has been making thoroughly pulsating jungle and breakbeats since 2001, and has quite a rep among that scene's regulars. "Clarendon," taken from Marcus Intalex's astounding FabricLive 35 mix, does not depart from what one would expect from Mr. Boyle: it contains a narcotizing two-note bass loop, ascending horn samples, dub vocal snippets, and delayed backing percussion. Of course, the requisite congas enter into the mix, but only towards the track's apex, when all drops out for a lone, delayed vocal bit. Whether or not jungle is your thing or not, the track is perfect for testing out new sub-woofers or simply sitting back and smoking a fattie. Highly recommended stuff, especially for those looking to chill out and let bass destroy their innards.

Breakage- Clarendon



Our second track comes at us from France's Sebastien Leger, a well-known name in the field of party house and techno. "Champagne Party" is, in many ways, the perfect party track: its beat is well-padded, it has some funky-ass bass and near-disco guitars moving in loops throughout, and finally, it has a great break wherein only one new element is added: a muffled sample of a woman hitting a high note. Its handclaps and samples of a 'champagne party' only make it more of a jubilant affair. Reminiscent of a less stoned Idjut Boys, "Champage Party" will certainly effervesce any party where you might play it.

Sebastien Leger- Champagne Party

Tomorrow's post will be a celebration of the UR DJ Assault Squad coming to New York for two dates this coming weekend. Perhaps I'll see you there?

infection

Sorry all, I was going to post many tracks for you this weekend. Instead, I got hit with a massive sinus infection that laid me flat until a few hours ago. Light hurt my eyes, music hurt my ears, everything sucked. But look out for stuff this week, including a track from Breakage, a classic from Sebastian Leger, and a look at UR, whose DJ squad will be performing TWO sets in New York this coming week.

true sound

First track of the post is from some d'n'b heads we heard from in our first venture into the genre a few posts back. Commix are among the more prolific and well-regarded d'n'b groups out of Britain (where else?) at the moment. Many of their tracks are sample-heavy affairs with sublime peaks and valleys, as well as a really fantastic sense of harmony, a quality not altogether common in the slog of d'n'b crap out there. "Be True," while departing from usual dub samples, utilizes a jazzy female vocal line to create much of the tension in the song-- the main chords throughout the entire track consist of three pitch-shifted samples of her singing the word 'true.' Along with loungey pianos and strings, the track rolls forward at perfect speed for a drive along city freeways. Finally, the pitch-shifting work done on the vocal samples, as well as the vocal loops, are unstoppably good. Not too fast for those wary of the d'n'b, but fast enough for those looking to slam, Commix's newest single (on Metalheadz) is a surprisingly lush affair, and one of the best d'n'b singles of the year thus far.

Commix- Be True (Original Mix)



Next up is two tracks from the infamous man pictured above, Jamal Moss (aka Insane Black Man, aka Hieroglyphic Being, aka The Sun God, not to mention a member of Africans with Mainframes). However, these two tracks have a bit of a twist: they're not on the right speed. Moss' 2005 effort on Klang, Conversations in an Analog Dialect, is a wonderful techno record made using only analog synths, and its sound is appropriately spacy, squelchy, and otherwise good. But after spending a great deal of time with it (thanks to my man Copy Copy), it came to my attention that I'd been playing it at 33 rpm rather than 45 rpm. After correcting this mistake, though, I was dismayed: the tracks just didn't sound as good sped up! More spacy, for sure, but more R2D2 than drifting through the ether. Since I am more partial to the latter, I continue to listen to these tracks on the wrong speed-- their vibe is deeper, the bass is actually apparent in the mix, and the high-frequency washes and squelches are at levels appropriate for human ears, not canine ones. Perhaps you'd like to check out the difference for yourself? Well, head on over to Beatport after listening to these slowed-down tracks and listen for yourself. I'm sure you'll agree that this Moss effort is more pleasurable, summery, and plausible on the wrong speed. Additionally, the listener is able to get more of a handle on Moss' rhythmic complexity and genius on a slower speed. If you're still into it, I highly recommend other HB releases, particularly the Machines for Lovers EP on Spectral.

Hieroglyphic Being- Linux/Conversations in an Analog Dialect

cookin up

Sorry for delay! Explanation involving friends, work, detachment from computer. Onto the post!

Today, we once again visit the wonderful country of Japan. In Osaka, Shigeki Tamura, aka Segeke, has been doing occasional productions and remixes for many years. He has just released a few singles on the Geometric Deck, the choicest of which is "Catfish Steam." The track is banging minimal number of great restraint and elegance, beginning with its watery, quiet beginnings that share some characteristics with Villalobos. The beat comes in quick enough, but soon becomes heavier, sodden with a whooshing, bassy oscillation. While the high-frequency tinklings and secondary percussive bits hover, a second, distorted bass note comes in, eventually building to a slight peak before descending and letting the track move forward. Soft, cooing synths glide up and down throughout the track, which keeps an even keel, sometimes adding snares and additional hi-hats along with synth squeals and sustains. Though the track is not an ecstatic, hand-waving monster, it is among the year's best minimal tracks, if only because it contains serious momentum using bare-bones samples and synths. Highly recommended, and particularly pleasing to the late-night DJ.

Segeke- Catfish Steam (Original Mix)

Next post, another drum'n'bass fix and some summer finery from Hieroglyphic Being.

defenses

The first track of the day comes at us from Sten, one of Peter Kersten's many aliases-- he is perhaps more well-known as Lawrence, one of the founders of Dial. Per usual, Kersten delivers a track of mid-tempo house on a deeper vibe. "Undercover," from Sten's newest EP, begins with a twinkly synth loop which is then hi-jacked by the track's low kicks, allowing it to sound more ethereal and out of synch. The the bass line is a three-note loop quite high in the mix, buoying back and forth. The melodic meat of "Undercover," though, comes when a fantastic, tropical synth line slowly makes itself known in the mix, building to pitch of slightly-delayed dubbiness. When soft, sustained synths begin to ride over the rest of the mix, it is impossible to not feel an ecstatic feeling of natural flow. Thus, while the Lawrence remix of the track is simply okay, the original is quite a number, reminiscent of older Ame and more evidence of a renaissance in deep house with minimal leanings.

Sten- Undercover



Next, the first Deep Movements journey into drum'n'bass. While I was once quite biased against the genre-- after all, "you can't spell 'drum'n'bass' without 'dumb-ass'"-- a recent promo of Marcus Intalex's FabricLive 35 was sent to me, and it made me reconsider my position. Intalex's excellent mix aside, many of the artists of the mix are currently active on the drum'n'bass scene, and many of them list Detroit techno, and UR productions in particular, as major influences on their sound. This influence is readily-apparent and breath-taking, quite honestly. A lot of these artists' tracks have a great deal of dancefloor power and melodic resonance, and make it seem as if drum'n'bass didn't die in the late 1990's, as some cynical nay-sayers often spout.

On the newest full-length from British native Nu:Tone, Back of Beyond, Detroit simply oozes from many tracks. "Take Me Back," which features fellow drum'n'bass producers Commix, begins with a standard electro-funk beat low in the mix and a massive, repeated synth note. Along with claps, super-processed panpipe-like percussive bells, and retro synth sounds, the track builds and builds with an effervescent, speedy synth line that eventually makes up the melodic meat of the track. By the time it drops before the explosion of the beat into the fore, the track has the listener in its clutches, its complexity and sublime synth-lines creating a lush atmosphere unheard of in much of the mechanistic, glitchy sounds more associated with drum'n'bass. The meat of the track continues along this line, utilizing all of the tools of Detroit techno and electro-funk in a more d'n'b vein. It some ways, "Take Me Back" recalls Orlando Voorn's more fast-and-hard moments, with beats that will please any fan of electronic dance music, rippling bass, and synths that are especially loved by followers of the Detroit electronic movement.

Though I still have much more to investigate and learn about d'n'b, Nu:Tone, Intalex and Calibre are certainly making it easy to want to do so, so check out their stuff!

Nu:Tone- Take Me Back feat. Commix

overcast eyes

With records on Traum as well as relative newcomers Balkon, Nebojsa Popovic (aka Popnebo) has been doing quite well for himself. His newest track, "Florida Bianca," appears on Balkon's We Are Not Detroit, We Are Destroyed Volume One comp, and is a fine slice of bouncy minimal house. Slightly reminiscent of older, tamer Villalobos, the track utilizes a muted piano synth, many finely delayed clicks and percussive bits, and an eventual harsh, stabbing synth to create a moody piece of house more suitable to dancing in one's chair than on a club floor. Airy bits of looser piano synths make appearances between bars, and an occasional strange, distorted vocal bit round out this understated bit of minimal finery.

Popnebo- Florida Bianca

Next post, look forward to a new track from Sten and our first foray into the world of drum'n'bass with a great Detroit-infused track by Nu:Tone.

the gyration of muscle

At this point, it almost goes without saying that Quiet Village Project are among the premier remixers of the moment. They can take almost any track and make it into a monstrously deep, spacy trip into the outer reaches. It is not surprising, then, that their remix of "Spielplatz," by Mudd, is a sultry, cosmic extension of the original. Most of the original track's elements are brought in slowly, sometimes altered and sometimes not, until they all build into an ecstatic pitch that simply oozes sex. I Love Music regular 'Vahid' has said that the Quiet Village remixes CD proves that trip-hop is cool again, and while I wouldn't necessarily say that the "Spielplatz" remix is a stellar proof of his point, there is something about it that reminds me of some of Tricky's more downtempo tracks. Twice as long as the original, and guaranteed to make your night!

Mudd- Spielplatz (Quiet Village Deep Space Remix)



Next up is a track on a totally different tip. The intensely attractive Quentin Harris has quickly become one of the world's foremost urban and deep house DJs, what with collaborations with Ron Trent, remixes by Julien Jabre, and a steady DJing schedule that takes him from New York to London to Ibiza to Melbourne. The newly resurgent Strictly Rhythm label has just released a new record by Mr. Harris that is bound to be played all over in the coming months. "You Don't Know" has everything an amazing house track should have: fantastically plaintive vocals about love and loss, a deep and banging beat, killer hooks, string synths, and acid stabs here and there. In some ways, it might be my favorite house track of the year thus far, particularly in terms of its emotional impact and ability to be spun in a plethora of different DJing situations. There's a reason why Jabre's remix of Harris' "Let's Be Young" is one of the most played songs on my iTunes, and I have little doubt that "You Don't Know" will soon join its ranks.

Quentin Harris- You Don't Know (Big Room Mix)

All right, I know that I promised you a Popnebo track last post, but that minimal fun will have to wait until next post, which should be up tomorrow or Sunday. Check back often!