Sometimes the air works better than the ground

Great title, right? On a late-night Beatport binge I encountered two tracks that immediately struck my fancy. Consequently, they both deal with planes. Holy. Freaking. Moly.

The first comes from Andy Chatterley, who in the past has worked with, of all people, Kanye West! Surprisingly, or perhaps not so, the man can churn out warm, dark-side-of-the-moon techno bombs like nobody's business. "Jets" was released to little fanfare back in January on Saved Records, but it's become one of my favorite tracks of the year, easily, with only a few listens.

"Jets" happens to be very aptly titled. A lush, planetary/spacey rippler of a techno track, this near-eight minute rhythmic space odyssey pulses and gyrates through razor-thin, wiry-sharp drums and hisses before a lunar bounce of a tom turns the gravity on the entire track down to zero. Planes take off and land haphazardly throughout the track, all while things seem to remain grounded, even if every sound bounces off the beautifully, empty-sounding synth riff that eerily permeates the track every four bars or so. Blaring, scooping sirens turn things up a notch and set the threat level alert here on red: something's about to crash and burn. The drums pull out for a minute or so as the main synth line hovers and chimes in thin air, as if bouncing around on a sonic moon bounce. The sirens come in as one final jet lands. Apparently, everything's closing...all the planes are landing, everything quiets, then...BOOM. The sirens rise in full swing, a flock of jets land and take off in a cacophony of jarring, pulsating, absolutely incessant techno rhythms. A beauty of a track that builds slowly and palpably before a militant, commanding climax that satisfies everything the body wants it to. This one's for the body as much as it is the mind. We are clear for takeoff.



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This next one comes from German minimal/techno DJ/producer/mastermind Martin Buttrich, known in the past for "Full Clip", a thoughtful, minimalistic composition released on Carl Craig's iconic Planet E Communications. At nearly eleven minutes, this will be a journey and a trek for those unfamiliar with atmospheric, attention-to-detail minimal techno.

"Stoned Autopilot" kicks off with light drums, before a fuzzy, one-note bassline rolls in under a bed of hi-hat sheen that lets some much-needed light in. The futuristic, trancey synth line rises from the depths, creating a somber, bleak atmosphere of a track that somewhat reminds one of the feeling you get when you look to the horizon on a freezing winter morning: desolate, yet familiar, with a hint of warmth and depth that isn't always noticeable or comforting. Luckily, around 3:40, a menacing, subby bassline adds not only harmony to the barebones melody, but the track begins to take on a fuller structure, with an additional crying, twisting synth line to add to the already cold, blank face of this cut. A little past the halfway mark, everything again comes into focus, and a buzzing, 16-bit ring sounds like the receiver in the cockpit of a plane, only no one's around to pick it up. Consequently, the plane goes into freefall. The low-end heavy, killer bassline takes front stage to ominous effect. The track gathers structure completely, but the vehicle remains helpless. Not until the end does it regain that same spacey, bleak sound it had in the beginning. This plane is headed for the ground, but it goes out with a bang, not a whimper. A track that tells a story like this does not come by very often. EVery sound plays a role, and it works both the mind and the body unlike anything I've ever experienced or heard before. Hats off to Buttrich, who is quickly becoming one of favorite producers.



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Like I said, planes. So cool. Two amazing tracks that I'll continue to enjoy for a long, long time.
If a picture is worth a thousand words, then music is worth at least twice that much.
-NL

A fresh, ocean breeze

It's a cold day today, no denying it. It's also Sunday, which signal the end of what has been one of the best and most enjoyable weekends of my entire life. Had a great thanksgiving, spent time with a lot of great people, made new friends, applied to the University of Iowa, it's just been a stellar weekend. In light of this, I'm going to review pleasant, wonderfully crafted EP by Toolroom regular Funkagenda, which happens to be one of the few EPs on which every single remix brings something different to the table. It's something of a guilty pleasure for me, but every single time I listen to it I enjoy every bit of it, which is something that cannot be said for every electronic music EP I've listened too, much less on tech and progressive house house monolith Toolroom.

"Breakwater" sounds like it should: aquatic, breezy, subtle, and comfortable. The original club mix kicks off with heavy low-end bass and drums, even throwing in the occasional submarine sonar bleep. It's traditional progressive house fare; a chunging, unforgiving bass and kick, a hovering, single note synth, a simplistic, bright main synth riff, reserved crashes to signal that something's about to happen; this is pattered, structured progressive house with a slight eye for atmosphere. Near the middle, though, the glittering main synth line drops, and all of a sudden, you're on the beach, feeling the sand under your toes, the waves caressing your feet, the sun warming your entire body with its soft, blanketing rays. This definitely is not as much of a banger as it is atmospheric progressive house, which ends up giving the track a confusing ending while never deciding if it fully wants to go for mood or for the dancefloor. Too bad more progressive house can't work small wonders like Funkagenda can.

EDX pops up next with his shorter, ready-for-the-dancefloor spin on the track. All the elements of an EDX track are here in full force: his trademark synths, his signature proggy, hissing drums, and the same exact rhythm he uses for most of his remixes and originals. Don't expect anything different from EDX here, it's traditional fare for him. But that doesn't mean it's bad. His mainly body-pleasing brand of rhythmic, one-trick-melodic-pony progressive house fits the bill well, and the soothing, aquatic nature of the original fits well into the EDX template. Complete with a typical synth breakdown, albeit one that's a little more laid back. Progressive house at its most predictable (but it still sounds pretty good!)

Dataworx takes a turn next, removing the beach-time sensibilities of the original in favor of a sickly, ominous tech house mood. The mechanical, metallic drums take center stage for the first few minutes before the beginning of the signature riff is teased, soon piping church organ-style right alongside the drums perfectly. The main riff dances drunkenly once, while the pipes continue in the background, creating probably the most danceable atmosphere on the entire EP. Wonderfully rhythmic while barely melodic and harmonic, this is a tech house treat for the feet.

The final remix comes from the able hands of British DJ/producer Dave Seaman and Greek DJ/producer Stelios Vassiloudis (or Stel, as he's credited here). The duo's "Waveforce Mix" sounds completely correct: a vicious, unrelenting bass sounds deep and heavy in the ears, and that trademark dance hi-hat drops to focus the beat and rhythm down the progressive house (beaten) path. The main riff sounds, this time, trumpeted and extra bright, before being submerged headfirst underwater again. Claps and hisses drive the track along with faint harmonies playing in the background. A few minutes later, the same riff twinkles into view with a bell-sounding synth this time, and the track even glitches up a bit, sputtering and gasping for air before the wave of the bass crashes down again right on time. While not the best remix of the EP, it's head-pleasing, clobbering monster of a track that makes you think a little while keeping that same progressive house feel.




You can download the entire EP here as a .rar file. Enjoy, and always keep those ears peeled.

Funkagenda - Breakwater EP

-NL

Sebastien Leger Pt. II

Going right from where I left off...

Next track is "Mars". This happens to be where Leger can shine the most at times. Foregoing his traditionally organic, razor-sharp tech house, Leger opts for a more electro-centric, rippling metallic feel, as if the entire track got blasted with paint and polished to a metallic sheen. While most Leger tracks bubble, this one most assuredly bobbles, the zigzag synth line cutting lines through the admittedly classic Leger drums characterized by vibrant rhythms while sounding equally sonically dense. There really is an "alien" vibe given off here, foreign, unusual sounds and pads keep things interesting, but the structure and sound are still trademark Sebastien Leger. A definite winner in my book. Especially that glitchy, rising synth line. Tuuuuuuuuuuune!

Sebastien Leger - Mars

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Finally, we come to "Uranus", my final favorite off of "Planets". This has to also go under the category of "rhythmic, electro-tinged, belching, rippling bangers". With a low end like no other, and an almost hip-hop rhythm, "Uranus" even brings what can only be vinyl scratches to the table with bottom-of-the-barrel synths and bass. This whole track sounds like one loud, long belch. But it's a good belch. Leger's rhythms work wonders again, and the synths might get eventually grating, but this track is experimental Leger at his near best, and rightly deserves the title of "tune". Crazy astrological shit right here.

Sebastien Leger - Uranus

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Alright, with Planets out of the way, let's focus on Leger's best material off his other singles and releases on Mistakes Music. Just as a reminder and as a list, I'll focus on "Talisman", "Majestic", "Jungle", and "Le Moustique".

Ah, Talisman. Not only my favorite Leger track, but easily one of my favorite electronic music cuts of all-time. And personally, I think it's easy to see why. A thick, down-to-earth vacuum of a beat that hisses and snakes for a minute or so is soon layered with a delayed, wonderfully simple Middle-Eastern sounding melody. It shimmers overhead before harmonic synth stabs further layer the sound. A final background pad dips the entire track into a crazy, glittering atmospheric pool, before harnessing the entire sound and dropping a signature Leger drum pattern that only gets better and better as the track progresses. Highlighted by perfectly timed claps and vicious, hissing snares and hi-hats, the drums work to the climax, an astoundingly layered and head/body-pleasing zenith from the track drops off, all sound synthesizing into a one cohesive unit. At a bit over nine minutes, much happens here, but it proves Leger's atmospheric ideals and talents for layered, dense, yet positively monstrous and completely danceable tech house. One of my favorite songs of all-time, ever. Enjoy.

Sebastien Leger - Talisman

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After "Talisman", well, nothing can really come close to recreating it sonically, mentally, or emotionally. But by no means is anything after 'bad'. It's just...not as good. But let's jump into another solid Leger release, "Majestic", and it's killer eponymous cut.

"Majestic" opens with an already busy drum pattern, only further building on it with a minor synth backbone tagging along for the ride. Around 1:30 the synths break open and trickle slowly out, layering out the groundwork for a swirling, magnetic synth line that rides the drums perfectly for another few minutes. Subtle drum inflections and shifts further keep attention before the synth takes center stage again, as the glitchy, electro sound builds around before dropping off again to the rippling, rolling synth plus drums, as is par for most of this track. It's certainly nothing special, but it's definitely got a great intro and showcases, if anything, more creative Leger rhythm and sound.

Sebastien Leger - Majestic

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If ever there was a track to highlight atmosphere (that's not on Planets) I would have to pick "Jungle". The title really just spells it right out. You're not even sure what sounds at first are even drums! There's chirps, breezes, hisses, tweets, yelps, everything. It honestly does sound like a jungle. The drums, while initially pretty loose, gather ground and structure fast, and it's not even until around two minutes that a melody even shows up! Although simplistic, it's classic Leger: spacey, delayed, bubbly, and perfectly suited for the track. But it's that bridge that gets me every time. All of a sudden the synth line winds up and falls back down before repeating again, an instantly jazzy sound that should get your feet moving and your head swirling. Or at least your fingers snapping. A definite favorite of mine and that puts Leger's rhythmic sensibilities at the forefront, and to wondrous effect.

Sebastien Leger - Jungle

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Until recently, I didn't really enjoy this final Leger track. I'm not even sure why; it's textbook Leger. "Le Moustique" (French for 'the mosquito') kicks off with light, vibrant African-sounding drums, before peaking with another rich, textured drum backdrop for buzzing, mosquito-like (of course!) synth line to drop, droning monotonously under the sea of hi-hats and bongos. Another rhythmic treat, with a thematic sound that suits it well, even if it gets old after a little while!

Sebastien Leger - Le Moustique




I could go on and on about this amazing French DJ/producer, but you know his sound, his technique, and his style, which doesn't really change that much from track to track! This isn't your normal tech house, it's definitely something bigger, faster, and, well, better. Enjoy, and keep those ears wide, wide open.
-NL

The French Connection, Pt. III

After much thought...well, not really, but it was definitely coming, you know...I've decided to do a piece about one of my all-time favorite producers: Sebastien Leger. This is part three in a continuing look at why France is always at the forefront of some realm of electronic music, but more specifically it's a quick look at a wonderful producer and his efforts thus far.

In my last post, I highlighted one of his best tracks, Earth, but the album on which it appears, Planets, is such a masterpiece of rhythms and atmospheric tech house that I can't NOT talk about a few other key tracks on the LP. But first, a little background on Seb Leger and the album itself.

Leger has been DJing and producing since 1999, and although his early efforts such as Diametrik Acidness and Midnight in Galaxy reflect a faster, more acid approach to house, he began to approach his now signature sound, in my opinion, with releases like Little Bug, Take Your Pills, Hit Girl, Bad Clock, Goulden Moulden, and Hypnotized, all released between 2005 and 2006 on labels Circle Music, Intec Records, Black Jack, and Rising Music. I think that Leger's style is characterized by deliciously varied rhythms, sonically rich and vibrant atmospheres, catchy, simplistic melodies for the head, and subtle textural shifts and changes that require more than one listen.

What personally drew me to further investigate Sebastien Leger was a collaboration he did with Rising Music head Chris Lake, "Word". It's a bouncing, wavering tech house joint with a cascading synth line that eventually wraps around itself into a wonderfully scooping, almost stressful circuit of a riff. Perfectly timed gasps and a great variety of drum sounds keep this track interesting all the way through, and it never once lets up at all. I also love another one of their collabs, "Aqualight", which sounds concurrently aquatic and structurally sound, rolling along with another addictive synth line and Leger-esque drums.

Sebastien Leger & Chris Lake - Word

Leger also runs his own imprint, Mistakes Music, on which he (generally) solely releases his own material, and it's here that you'll find, in my opinion, the best Leger stuff ever. Let's start with Planets.

Released in 2007, Planets sets aside a track for each planet, including the moon and the sun. Every single track, while retaining similar elements that are all Leger in sound and style, sounds different, bringing different textures, rhythms, and melodic elements to the table. While there's something to be said for every track, I'd like to specificaly spotlight "Sun", "Saturn", "Mars", and "Uranus".

"Sun" clocks in at just over ten minutes, but it's worth the wait. A very atmospheric tech house cut, the drums and tambourine keep time very...interestingly, and give the impression that this will not be your average tech house track. The synths hover and float, delayed to give a dreamy, otherworldly feeling to it. But then...the violin kicks in, and you realize it: the Middle-Eastern influences here are unmistakable, and because of this, the track takes on a wavering, sensual groove that in maintains through the majority of the rest of play. Those drums...they perfectly compliment the bubbling, rhythmic synth line to an almost-trancelike sound. It's a beauty of a track that sways, moves, grooves, and makes it very difficult to NOT bob your head at least a little bit. And that arpeggio near the end? Just a little icing on the cake.

Sebastien Leger - Sun

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Next we hit "Saturn". an equally atmospheric piece that immediately lays the template Leger wants it to: rhythmic, grooving tech house at its best. The spastic synth only adds to the fun, while the second, two-note synth develops structure and purpose, slowly growing and teasing through the first half of the track, before finally unleashing its warm, head-filling melody onto the listener. Similar to "Sun" (even has an electronic string part!) but it's more about the groove here, as not of the synths ever give an inch, always existing either in the foreground or background, and it might get a little cluttered at times, but the mood never lets up, and in the end, the track might be as good as "Sun" or "Earth", but it delivers a solid groove that pleases both the body and the head.

Sebastien Leger - Saturn


I'm gonna call it quits here, this is too much text! I'll finish it later today with the rest of Leger's best. Enjoy for now!
-NL

Black Friday

Yes, it's Black Friday. I am safe at home, nice and warm, comfortable with that the fact that by the minute, I am most certainly losing out on many "important" deals and doorbusters. What a nation we live in...

Anyways, let's get things rolling with another three tracks, shall we?

This first one is my second favorite techno cut of all-time, and coincidentally, Dubfire was called on to remix this thunderous, foundation-shaking Radio Slave track, "Grindhouse". Appropriately dubbed the "Terror Planet" remix, Dubfire deftly handles this track while not really seemingly adding that much to it to begin with. While gaining a noticeably beefier low-end, the bass and kick literally bounce through the entirety of the track. It's the epitome of brooding, moody, paranoid, borderline-sadistic techno: particularly stressed screams pervade the track, with extremely eerie, disconcerting vocals courtesy of Danton Eeprom. While never really straying much from the basic formula of Dubfire's traditional brand of techno, the atmosphere and mood he creates is not only palpable, but equally menacing and frightening. If ever there was a track that was made to scare the pants off of you, this would be that track.

Radioslave & Danton Eeprom - Grindhouse (Dubfire Terror Planet Remix)


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Sebastien Leger is an undeniable genius. Every track he builds, everything track he touches, turns to gold. The French DJ/producer has a knack for atmospheric, rhythmic, jazzy, funky, completely danceable tech house. And nowhere does this shine better than on one of the cuts off his stellar, astrologically-thematic album "Planets". "Earth" is a nine-plus minute exercise in patience, natural, sonic growth, and possesses a breakdown that hits you straight in the face when you'd never expect it. Bird chirps, aquatic rushes and swells, earthen drums and synths, it all sounds so organic, and it really does sound like Earth! The synths continue to grow, warm, relaxing to both the body and the head, and although a bit circuitous, the eventual, wonderfully mellow breakdown is perfectly timed and perfectly positioned. Overall, a track that takes a bit to get going, but once it does, has plenty of steam and presence to stay heavy in both the mind and in the ears.

Sebastien Leger - Earth


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Recently, I've found myself searching for enjoying a collection of Radio Slave tracks. The British DJ, a.k.a. Matt Edwards, is no stranger to the electronic music scene, having racked up a number of amazing originals (Bell Clap Dance, Koma Koma, Grindhouse, Incognito) a solid set of killer remixes (DJ Hell's "The DJ", Dubfire's "Rabid" [forthcoming on SCI+TEC Digital], Len Faki's "My Black Sheep") and runs his own imprint as well, Rekids. I've highlighted a few of his tracks in the past, and in fact I'll soon take a look at his 28-minute (yep, you read correctly) remix of DJ Hell's collaboration with P. Diddy, "The DJ". But right now, I'd like to take a look at Steve Lawler's remix of Radio Slave's "Koma Koma". The first thing you notice right out of the gate are the very live-sounding, loose, tribal-esque drums. They shake and sound very natural, immediately danceable, and although repetitive, so damn catchy!! Things continue as such for about a minute and a half, before the bass drops and other sounds swirl through the cacophony of sound. Around three minutes, things get REAL tribal. The shouted vocals, the viscous rap of the clave, everything comes together in a very primitive, yet oddly enthralling sound, something very natural and organic. Sure, not much (if any) melodic elements here, but the rhythm alone and the eventually sonically-arresting mood give credence to why "notes" aren't always necessary in music.

Radio Slave - Koma Koma (Steve Lawler Remix)



And that's all! Notice I also posted MP3s this time, something I will try and continue to do from here on out. Enjoy the day and keep those ears open.
-NL

It's Turkey Day.

First off, happy thanksgiving everyone!! Whether you're spending it with your entire extended family or with a few special people, we all have things to be thankful for, and this is the day you let those closest to you know that they really do mean a whole lot to you. Enjoy the feast and be thankful.

As for me, I'm thankful for many things: family, friends, my continued ability to run, the wonderful gifts I've received this year, the new people I've met, so many things! Additionally, I'm thankful for new tracks, even on Turkey Day. Let's kick off a new batch!!

This first cut is a wonderfully chilled, relaxing piano remake of the abrasive, electro banger "Waves" by Erol Alkan and Boys Noize. Gonzales does an amazing job turning this once clobbering, massive electro thumper into a somber, eerie, beautiful piano-driven tune. You'll still recognize the main hook, but everything else gathers that ghostly, rhythmic piano sound and rolls with it. Who knew you could turn something as loud and angry as "Waves" into a melancholy, stirring piano piece? Gonzales is just full of magic like that, I guess.



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This second track should've gone on the post before, it's one of the spaciest tracks I've ever heard. Plenty of echo and delay feed into the wonderfully melodic "Airwalk", by fellow Pryda Friends labelmate Henrik B. The synths are equally heavenly, floating above the swelling and falling background riff. It's a beautifully layered soundscape, with minimal drums simply keeping the beat for a few minutes, before the full effect of combined, Prydz-esque drums and synth bloops signal that the track is, still, progressive house. A great track that, while pretty old, has definitely stood the test of time in my eyes.



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This final track is another somewhat spacey joint. However, unlike the above track, it has the bass and the plinking synths that give it a decidedly funky undertone. And when those synths come in, perfectly complimenting the slapped bass riff and mellow keys, you gotta admit this is (if I might quote "Et Musiqiue Pour Tous") "space age bachelor pad music" at it's best. Finish things off with hushed, breathy vocals and an electronic string section, and you've got a spaced-out, funky, nu disco groove fest. Play it out now.






That's all for now folks. Yeah yeah I know, these aren't really Turkey Day themed, but they certainly (for the most part) are family friendly, and work well as background sound to a quiet, cozy grouping around the table or the fireplace after dinner. Okay, only the last track, really. The first one, too. Anyways, best wishes for a great holiday everyone, we've all got a lot to be thankful for.

Best wishes for a great Turkey Day,
NL

Spacespacespacespacespacespace

Just got a fresh new batch of tracks off of Beatport, and a few of them are particularly spacey, which is definitely something I love in a deep house/techno track. And on a rainy, crummy day like today, what better place to be? The atmosphere, the out-of-body feelings, the filling of your headspace with sounds and rhythms you could only dream of...it's some pretty cool stuff I gotta admit.

This first cut is from a growing name in the minimal production field: Seth Troxler. "Aggression" is a slow, bumping, rolling track, with an oddly "catchy" kick chunk kept moving for a few minutes, before a harsh, sped-up voice over the phone signals why this track gets its name, as this sample is followed by an atonal synth riff complete with aggravated hisses, growls, and electronic hums and blurts. While not immediately aggressive, this track builds to something irritating, abrasive, and totally, sonically wonderful, all the while, the interesting cadence always keeping things balanced and structured.

http://www.last.fm/music/Seth+Troxler/_/Aggression?autostart

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This next track reminds me 100% of Daft Punk. From the sensual drums to the lush, warm pads and synths. Even that signature riff, it sounds straight out of Daft Punk's "Veridus Quo"!! But Das Glow's "A Lighter Shade of Bright" flows smoother, like a glowing sea of strawberry yogurt. Yep. Exactly like that. A wonderfully spacey, creamy-smooth, underrated gem of a track, it will completely mellow the mood wherever and whenever you put it on.



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This final track mixes in a little funk, groove, and trippiness with the spacey. Joe Goddard's (of Hot Chip) "Apple Bobbing" is remixed wonderfully and oddly by British Dj/composer/producer Four Tet. There's a lot going on here, including a hilarious yet well-fitting sample of Cassie's "Me & U". Yeah. That's what I said too! Regardless, it works. Besides the loose, almost jazzy beat, this track has no real structure, but I really like that. It flows better, sounding like an actual spring breeze; warming, yet cooling, comfortable, cheery, natural, and smile-enducing even! The synths flutter and float above the vocal samples, swelling to an airy, breezy peak that just makes me smile ever time I hear it. Definite favorite track of the year.




That's all! Should have a few more tracks up later this week, including a Turkey Day specific post. Until then, keep 'em open.
-NL

Sunshine/Starlight

Alright, real quick, I just uploaded the first part of a mix I've finished mastering and mixing. It's a bright, sunny, danceable mix called "Sunshine". The second half, "Starlight", is coming soon. Download it here and please tell me what you think. Any kind of comments welcome, except pointless flaming. Take that shit somewhere else. Here's the link:

http://www.mediafire.com/?y0d2nh1kuzz

Enjoy! Here's the track listing:

1) Sebastien Leger - Bubbly
2) Stimming - Una Pena
3) Sly Mongoose - Snakes And Ladder (Rub-n-Tug Re-Edit)
4) Bag Raiders - Shooting Stars (Shazam Dub Mix)
5) Adam Freeland - Silverlake Pills (Gui Boratto Remix)
6) Kolombo - Acai
7) Sebastien Tellier - Roche (Breakbot Remix)
8) Dosem - Beach Kisses (Joris Voorn Green Mix)
9) Inpetto - Catwalk
10) Oliver Koletzki - Technica Salsa
11) Chromeo - Night By Night (Siriusmo Remix)
12) Butch - Wet'n'Tight
13) Christian Smith & John Selway - Daytona (John Digweed & Nick Muir Remix)
14) Funkagenda - Breakwater (Dataworx Remix)

Climate is what we expect, weather is what we get...

It's rainy and cool here in Wisconsin. Not surprising, seeing as it is late November, but the rain reminded me of a few tracks I wanted to put up for just such a day. So without anymore chitchat, here are some rainy day tracks straight from "The Vault"...

The first is a short feel-good instrumental from James Yancey, b.k.a. J Dilla. Off his stellar, final living release Donuts, this under two minute cut samples a Slyvers track, "Only One Can Win", to great effect. Lush, tender drums thump out Jackson 5 style under the spacey, hummable hook sung by a Michael Jackson soundalike. It's short, but it's sweet, definitely lovable, and super bubbly for an instrumental. But if you know Dilla, this is the norm, not the exception.



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Audion (a.k.a. Matthew Dear) is a force to be reckoned with when it comes to minimal. Releasing subtle bomb after bomb on his Ghostly/Spectral Sound labels, Audion's template runs ten minutes plush, with a much slower build-up than is generally normal for the genre. However, every track pays off in one form or another. In this case, it's a ghostly, haunting, very Middle Eastern-sounding four note dip, that, over the current soundscape of paper-thin drums and already sinister electronic hum, sounds not only creepy, but oddly entrancing, for it might be a shock at first, but it's a shock that works, and when played at night through huge speakers, you'd be sure that a ghost had just entered the room, hovered over to the dancefloor, and blarred its arrival with one of the most hypnotic synth lines I've ever heard.



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This last one starts off with one of the most uplifting piano riffs I've ever heard in my entire life. And sure, Bruce Hornsby might be getting old, but if ever there was a feel-good rainy day song, this would be it. Man, that piano warms my soul ever time I hear it. The rhythm isn't typical either, giving the song, a slow chugging-along flow that fits it perfectly. Songs like this aren't meant to be rushed. Hornsby's voice sounds right at home over the lush, warm pads, but you can absolutely not NOT love that riff!!! It's so damn catchy. The name of the song is Mandolin Rain, by the way. Sorry if that wasn't clear :P







Don't let the weather get you down, and try these songs next time the clouds start welling up. Until next time, keep those ears open.
-NL

Goes Well With Soup

Long night...let's get a few tracks in while we're at it.

This first one is a razor-sharp rising and falling minimal bomb from Marc Houle. "Bay Of Figs" swells and backs off for a good minute and a half, the droning synth filling your head before the hi-hat kicks in and the track starts to gather speed and focus. This still a bit abrasive, but it's a lil' zipper of a track, and it almost reminds of how it would sound to fly on a bee: the drone, the tempo, the eventual toms, it all just clicks, and just all sounds...right together.



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This is a track off one of my favorite albums of all-time: Bruce Springsteen's 1975 magnum opus, "Born to Run". It's definitely a ballad, but there's something about this song thats driving, something that gives it unmatched purpose and poise on the album. It's probably the hummable, key piano riff that opens the song and hangs around throughout. That, laid against Max Weinberg's cunningly simplistic drums creates a sound that rolls along with equal ease and flow. Springsteen sounds right at home singing about a girl he wishes would leave him alone, even though she's something quite amazing. A beautiful song that you can just as easily rock out to as you can enjoy on an evening at home with friends and family.



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The final track I offer is a classic Pryda cut from 2004: "Lesson One". This is classic Pryda; you've got his addictive, proggy drums, the catchy, simplistic synth lines, and the barreling bass that thunders along beneath it all. This track in particular, though, has a dreamy, ethereal quality to it, something that makes it float about most other progressive house cuts. The delay and echo on the synth certainly helps, but just the riff itself sounds wonderfully bubbly and spacey. Lesson One: this is how amazing progressive house is done, and just another reason why you don't need any words to create a completely absorbing atmosphere.





That's all for now! Check back soon, and as always keep those ears wide open.
-NL

Techno: An explanation, a rant, plus some tracks

Alright, to begin with, Sandstorm is not techno. It's cookie-cutter trance. While "cookie-cutter" might seem like a word very befitting of the whole electronic music genre, hear me out first. Call On Me is not techno either. It's house, in a word. Anyways, back on topic...

Techno is ALL about the experience. It does have any catchy melodies, any recognizable parts to it (generally), and no hummable lyrics. This is not a radio edit of some popular song. This is a sonic journey we're talking about. The best place to begin to experience techno is in the comfort of your own room, ONLY listening to the music. Your mind cannot be occupied with anything else. I'm being completely serious too, by the way.

It's the rhythm that will first get you. The basic foundation of electronic music; the beat. It settles somewhere from which the rest of the song builds off of, usually organically. And by that, I mean things slowly rise, building on what previously been set, not coming in all of a sudden. It rises naturally, both sonically and logically, as if the track is climbing a mountain of sound, and the higher you get, the rougher the sound.

This brings me to my next point. There are no "edits" in techno. You will hard-pressed to find any techno track under five minutes in length, the usual length being a solid ten minutes. Why no edits? It's the sound that matters, the journey. It cannot be cut short for any reason. If you try to, it will absolutely ruin the entire mood and feel of the track. Again, it's the experience that will create and palpitate the understanding and love for the sound.

Additionally, it's also important to listen to this stuff with the proper mindset. You need to understand what you're about to listen to to fully appreciate it. Yes, it will be repetitive. Yes, it will probably start very quiet and very boring. Yes, there will probably be no melodic elements to begin with, if ever. People who gripe about this shit instantly piss me off: shut the fuck up and listen. Do I start complaining about Fall Out Boy, Panic! At The Disco, Lady Gaga, or the Jonas Brothers as soon as one of their songs comes on? Of course! Because what you hear will never change. The song goes nowhere from where it starts. With techno, everything grows, slowly and quietly. So shut the hell up and be patient. It will get loud. It will get better. Just expect to hear all this when you listen to it, or else take off your headphones and go stick your head into a fan while listening to mainstream radio.

Alright, onto the tracks. Sorry for that rant. But seriously, those people piss me off so much. Anyways...

This first one is a re-edit by Eric Prydz of a classic Sven Vath track: the Beauty and the Beast. It still retains some tech house elements, which is why I start off with this. I want to ease people into this, not jar them instantly with some Pig & Dan or Ricardo Villalobos straight out of the gate. But it definitely has a techno mindset: dark, ominous, complete with eerie vocal swells and barreling, thunderous drums over a simplistic, wavering synth line. Great example of a slow start that builds to something bigger and better. Just wait for the rise...it's completely epic and rightly monstrous.



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This next track is a little spacier, but a definite techno cut if I ever heard one. This one absolutely lends itself to the atmospheric tag of techno. Close your eyes and try and picture a beach...it's really easy with this cut from Guy Gerber and Shlomi Aber. The track almost bubbles out of the speakers, filling the room with water over LFO-beefed synths and a rising, swelling background tone that just sounds so...sunny, spacey, and water...y?



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Finally, I'll start to move into some power techno. This is the truly monstrous, epic, thick, vicious, "evil-sounding" stuff that makes you feel like some kind of angry, empowered demigod after you hear it. This stuff will scare you. It will shock you. And if you're in the right mood, it might even make you angry. The bass is heavy, the sound grows completely and totally, peaking with a sincere, palpable sonic rage that actually pretty cool. Until you realize that the track is less than halfway done and the truly amazing part is only moments away. It's times like these that make the hair on the back of my neck curl. This a monster of a track; don't say I didn't warn you. I mean jeesh, look at the title! That alone should explain it. (P.S. Dios = God in Spanish. Yep.) Dubfire and Oliver Huntemann are two huge names in techno, and they both have other excellent tracks if you're at all interested.

Final note; I'll let the track speak for itself. Just remember...organic growth, faux climax, climax, atmosphere. That's all you need to know. Last warning. Listen at your own risk/enjoyment.







I will return soon with some more techno and some other tracks that EVERYONE can stomach...techno truly is not everyone's cup of tea. Enjoy, and keep on listening to anything and everything.

Too Long...

Wow. Haven't been on here in a while. And frankly, for the two of you that often check here, I apologize. However, seeing as it's getting into the winter months, I will probably find myself often holed up in my room doing homework, and as such will probably find ample time to update this thing. Anyways, enough about me, and on to the tracks...

I figure I'll just give a few of current favorite tracks the nod, but I'm planning a big techno entry later this month. Specifically, on why most electronic music is NOT techno, my opinion of the genre, and a few of my favorite, genre-defining tracks from said style of music. And this is a purely personal look at techno, I am by no means a complete expert, so yes. Be looking out for that.

Alright, on to the music.

The first track I'd like to present is somewhat old, but it's kind of grown on me lately. Be forewarned, this is about as edgy as you can get as far as minimal techno is concerned, but it is well worth at least one listen.

Dutch producer Patrice Baumel dropped this violent, jarring minimal techno cut back in July 2008 on Get Physical. First thing to point out? No kick. That's correct, there is, in a word, no "beat". But this only makes things more interesting. Behind a steady procession of heavy, commanding claps and mechanical plonks of the "roar" (which is more akin to a chainsaw), that thick, grating, abrasive ROAR kicks in, before dropping out at the last minute. But with momentary piston hisses and a slowly gathering structure through most of the six plus minutes of the track, this is what techno would sound like through the ears of a robot: mechanical, vicious, thunderous, and completely devoid of any melodious elements. Not a track for a sunny, happy day.



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The next track I'd like to spotlight is a month old joint straight from the mind of A-Trak. The man has, undeniably, a knack for remixing. He did it for Sebastien Tellier's "Kilometer", Boys Noize's "Oh!", and now he does it again for the Yeah Yeah Yeahs. His remix of "Heads Will Roll" is banging, hissing, funked-out house cut. Karen O sounds right at home over A-Trak's addictive keys, hip-hop influenced beats, and glittering synth riffs. I honestly don't think A-Trak will ever be able to outdo his remix of "Kilometer", but this elastic, catchy-as-hell remix highlights what A-Trak does best, and this will definitely remain among my favorite tracks for a few months.



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This next track is a wonderfully Spanish tech house joint from German techno/tech house producer Stimming. I've heard this referred to as minimal, but it's simply not true. It's tech house. Anyways, this track brings the rhythm, and that, plus the breezy, ghostly vocal, will beckon you into a warm, coastal beach house, complete with hammocks, that fresh sea air, and a near broken radio too. The crackling vocal becomes the cnterpiece for this track, and everything else is built around it. The vibrating undercurrent of a beat, the "slap claps", and the intermittent, wavering horn swells all create a comfortable, flowing atmosphere that gets this track bouncing off the walls of your head, filling every inch with that casual, sunny-day vibe that you can almost feel radiating off this cut.



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Finally, I'm going to bring it back with my second favorite producer of all-time: Eric Prydz. The man does NOT release many remixes anymore, but when he does, you just know that they'll be quality cuts. And his latest remix of Calvin Harris's "Flashback" is no exception. It's your typical Prydz prog/tech house sound: spacey, layered synths, lush, delayed vocals, proggy drums, it's been done before. But it's how Prydz's introduces everything slowly but surely that keeps this remix on it's feet. Additionally, he handles the vocals with the utmost care. The female lead sounds delicate yet buoyant over Harris's wonderful harmony that works even better with Prydz's simplistic synth riff. It's drawn out to near eight minutes, but personally, the ebbs and flows, the crests and troughs of the whole thing are well worth it. Another excellent remix by Prydz. Much better than that commercial turd David Guetta dropped.



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That's all! Check back soon for a journey into the depths of techno. You've been warned.

-Keep listening to anything and everything you can! -NL