Trackstrackstracks and more.....tracks.

Here are a few tracks I think are worth checking out. I won't try to explain any of them right away. Look for them on Beatport, Youtube, Rapidshare, Mediafire, wherever. The greatest joys in music are those found off the beaten path.

Will Saul - Pause
Solomun - After Rain Comes Sun (Joris Voorn Dirty Dub Stab Mix)
Ricardo Villalobos - Easy Lee
Kollektiv Turmstrasse - Last Day
Hobo - Eazy
Martin Landsky - 1000 Miles
Martin Buttrich - Cloudy Bay

Here a few videos of the above tracks. Enjoy, friends. -NL















Moody, minimal, beautiful, spacious, ambient, powerful, everything. Find all these tracks and more on my latest mix, Nightlights 01: Of Fog and Sand. I'll upload it within the coming week. -NL

You and I, we are not so different.

Once in a great while, you find an album that is stellar from start to finish. Not one track is bad, and maybe they each bring a different sonic template to each track, or follow a well-tread, albeit wondrous formula, but whatever the case, the album rings true, clear, and loud in your memory and mind. I have a few albums that do this for me, among Bruce Springsteen's "Born To Run", The Streets's "A Grand Don't Come For Free" and "Original Pirate Material", Daft Punk's "Discovery", Phoenix's "Wolfgang Amadeus Phoenix", Sebastien Leger's "Planets", and Weezer's "Weezer" (The Blue Album of course). I am proud to present yet another edition to this finite collection: Kris Menace's "Idiosyncrasies".

Anyone who knows me knows I absolutely love the french house sound and Fred Falke, Alan Braxe, and the pair together working towards a 21st century update of the said sound. Lush, groovy, dense, spacey, infinitely melodic and hummable. Think Daft Punk. Yeah, that. Amazing, isn't it? These two have done originals and remixes out the wazoo with their own personal vein of french house in mind. Warm, mellow synths over crisp, mind-melting drums, there is nothing of the ordinary and no curveballs to be thrown, just simply inviting, beautifully danceable/listenable music.

Now on to the topic at hand. Until this point, I thought only Fred Falke and Alan Braxe held the rights to such a warm, Balearic sounding french house style. I was, frankly, wrong. Kris Menace's triple album, "Idiosyncrasies", is a testament to their sound, in his personal style, drawn-out across three beautiful, amazing discs of mellow, ambient house with a pinch of le style de la francais.

Menace's sound is less rooted in french house, where the order of the day is almost strictly four-to-the-floor drums and a driving, rhythmic, melodic hook tied down by echoing, pounding kicks and hi-hats. Kris Menace eyes these more as guidelines, instead taking interesting rhythmic patterns and layering them underneath occasionally spacey, occasionally glittering, occasionally squelchy synth lines. On "Artificial", Menace, teamed with Felix Da Housecat, take a spacey, spastic synth line and roll it up between crystal-clear, perfectly EQed drums that give it an unreal, almost surreal bounce. The results glisten, shimmer, and pulsate, as a simple yet extremely effective bassline crawls through your head, winding, zigging, and zagging for nearly five minutes. A definite album highlight.

With Spooky on "Stereophonic", the layering is done, once again, simply, but very effectively. The track starts out with a simple organ chord progression, before another arpeggiated synth line drops over it, but then a super arpeggiated synth line comes into the fray and the once simplistic ambient disco cut evolves and blossoms into a pounding, swirling amalgam of drums, organ, and panicked, relentless synth lines. The rhythm here too strays from french house, with a more traditionally housey beat that gives it an interesting counter-rhythm to that of the organ line. Another highlight.

Menace joins with fellow Frenchman Lifelike on the very first track, the epic, sweeping "Discopolis". At a little over nine minutes, you'd think a house tune couldn't hold your attention this long. You'd be sadly mistaken. "Discopolis" begins with a typically glittering synth line, on which a typical house beat is dropped, before a lazer-eqsue bassline beats perfectly against the lighter synths. After three minutes, everything drops out, and the melody comes in, a stoic, powerfully entrancing synth line that, once teamed with the synth, bassline, and drums, absolutely obliterates your mind and your body, a rhythmic and melodic house masterpiece. My favorite track off the album, probably.

The next track, "Fairlight Pt. 1 and Pt. 2" featuring another Frenchman, the aforementioned Falke, is yet another highlight, but remains a more ambient highlight, definitely more shimmering and spacey than the previous track, but a slight enough turn of events to warrant mental recognition and appreciation. Similar sounds, similar builds, but a lighter, more ambient feel makes this another keeper.

Other highlights include "Lumberjack" with Alan Braxe, "Metropolis", "Idiosyncrasy", "Sensuality", "Affinity", "Enamoured" with Fred Falke, and "Electricity", another collaboration with Falke. ANd I haven't touched on the remix CD yet!

All in all, "Idiosyncrasies" is well worth a listen, even if it is split apart into sections. A sonic masterpiece of house, space, and sound, this triple album will no doubt delight the mind, the soul, and the feet. Here's a link for all parts.

Kris Menace - Idiosyncrasies

Enjoy friends. Best wishes to all those taking exams, I need to continue studying myself.
-NL

The mail's here.

To me, finding good music is akin to sifting through the daily mail...stuff you don't want to get, a few things you don't know why you still get (Burger King birthday month cards, I'm looking at you) and maybe...just maybe...something you wanted to get. Unfortunately, this doesn't happen very often. So what do you do? Enjoy every piece of mail you get. Yes, even those birthday month cards from your local fats food chain. Burger King at least cares enough to remember the month.

Here are a few pieces of mail I've been listening to recently. A grab-bag, if you will.

===========

This first track is a recent banger from Made To Play head honcho Riva Starr. A sensual, warped sax line behind spastic bass and tambourine, this track does everything right, and unlike most electro house cuts, doesn't overstay its welcome, coming in at around 3 and a quarter minutes. A second wavering sax line rolls in to give the track a spicy, rhythmic, body-shaking mentality. Short, sweet, spicy, and unrelenting, this most recent Riva Starr outing can be digested by anyone, and is perfect to kick off late-night parties. LEMON!

Riva Starr - Trompe D'Amour

+++++++++++

If Eminem was the tough guy as a young, white rapper, then Josh Martinez inevitably was the shy, nerdy, white rapper. Unfortunately, Josh Martinez is a name probably none of you have ever heard before, despite the man's presence in the world of underground rap. Martinez brings a fierce, at times sensitive, viscerally goofy flow and punch to his lyrics, but as every rapper has that soft-spot song for every girl, Martinez's rings especially clear. Over a laid-back, mellow beat that almost hums "bright, shiny, happy day", Martinez reminiscences on his romantic past, his shyness, and his honest appreciation of a new girl in his life. Yeah, yeah, I know we've all heard it before, but the chorus is the best part of the whole song, as Martinez waxes (admittedly goofy) poetic: "’m just a dude and I do things the way dudes do. Cause I’m glued and stuck on you but I say do what you need to do. I’ll be here, drinking a beer, looking around, holding it down. Thinking of you…" The man is a goofy genius. A beautiful, honest song, perfect for nights with that special someone... Check Josh Martinez on Camobear Records, which released his two best albums, "Midriff Music" from '04, and "World Famous Sex Buffet" in '07. Enjoy.



===========

This final track is a massive, anger-filled techno cut from UK producer/DJ Alan Fitzpatrick. Released on Swedish label Drumcode, "Face of Rejection" is a warm, heavy techno cut that screams subtle anger and frustration in, well, the face of rejection. An ominous bass kicks things off, slowly building before an angry piston hiss knocks things into high gear, and the track begins to gain momentum, continuing the menacing kick and snarling bass, before echoing, hissing hi-hats wrap the track in a cloud of visceral rage and power. A one-trcik pony this track might be, but damnit, it's quite a powerful "trick".





That's all for now. This happens to be exam weekend, so I should probably get back to studying. Or continue sorting my mail.
Have a great weekend folks.
-NL

Gaiser is God

As I have found myself moving further and further into the depths of minimal techno, I've become increasing intrigued at the depths and intricacies it has to offer. Lush, layered textural drum patterns, beautifully simple, stark synth washes, and a surprisingly rhythmic, danceable feel.

But either way, minimal techno is either head-pleasing, or body-pleasing. Luckily, I have happened upon an American producer by the name of Gaiser (short for Jon Gaiser) who, by some stroke of luck, in addition to stellar production skills, manages to play a middle ground that works beautifully in both areas of dance music: the head and the body.

Let's start off with Gaiser's first major release on RIchie Hawtin's minimal/techno monolith M_nus (pronounced MInus). "Neural Block" is a 4-track EP that beautifully showcases Gaiser's possibilities and strengths as a producer. The eponymous cut marries a plinging synth with cut-up, robotic vocals and hissing, snaking snares with a classic, booming kick. The track rolls along with a subtle undertone of malice; a snaking, serpentine tone that gathers momentum and curves its way through the track and in and out of thought. The synth begins to echo itself and space out as the track gathers more momentum, hisses, growls, and the same computer plink keeping time throughout. The cool thing about this cut is that the sound is very similar to the name of the track and the 'message': the track tries to move to new areas, but the ghostly vocals, cut in like some computer program gone wrong, cause the rhythm to stutter and start over again, in a sense, a 'neural block'. Beauty.

The other highlight of the EP is 'Separation', a dark, ominous cave of a track that shutters, echoes, and groans like a massive mechanical monster. A quivering, dying synth plays into the darkness, as the groans grow and sigh away again. Eerie toms and hollow bongos fade through the empty space, with the sound seeming to bounce off of walls all around, reflecting back at the listener every few seconds. Eventually nothing but the groans remain, before a cave breeze blows the beat back into place, and the groans grow farther and farther away...a mysterious, dark cut that caps a beautiful EP.

Oh yeah. Forgot. 'Seepage', the third cut, takes astral blips and bloops and wraps them loosely around an snaking, icy cold synth line, complete with random pops and electronic gasps. The only track with a semblance of melody, 'Seepage' oozes downtuned organ sighs further down the track time, as the beat rolls along comfortably, and the pings grow and waver without certainty.

Overall, this EP showcases Gaiser's talent as a producer, and his specific sound: hollow, dark, empty, layered, dense, textured, and completely danceable. You can download the full EP here:
Gaiser - Neural Block EP

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Next up comes Gaiser's second massive double vinyl EP on M_nus, Eye Contact. Another monster of an EP, with a few selected beauties worth a listen.

'Eye Contact' begins like typical Gaiser: thick, booming drums underneath a sheen of sparse, disconcerting sound elements (hisses, blips, bloops, squelches). THis is a much more rhythmic cut for Gaiser, but this is definitely for the better. Cave-like in sound and structure, the light snares bounce wonderfully off the kick/hi-hat combination that keeps time. The track whines and cries, itching to grow and break up, with the drums finally gathering some friction against the electronic squirms and whines issued every half-minute or so. Eventually, the track plunges headfirst in a cave where the whines echo their loudest and most sinister. Another oddly catchy, but mysterious track.

'WIthdrawal' is the other big draw. Much more straightforward rhythmically, this cut simply takes thunderous, banging drums and lines them up against astral, shimmering synth lines. The effect is eerie, spacey, but works wonderfully. The track becomes grounded, with its arms flailing through the air. The echoey synth gives the track some much needed breathing room that floats it through your mind for the next four or so minutes.

Everything in between is typical Gaiser, with mixtures of melodic elements, ominous sound bytes, and complex, layered soundscapes that move your head as well as your body. Tops 'Neural Block' but only a very small margin.

Here's the EP in it's entirety:
Gaiser - Eye Contact EP


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Finally, I'm going to preview my next post with this video. I'll let you have a listen and....see what you think. Until next time...lights out.




-NL

First post of the new year

It's finally here. 2009 was full of...well, lots of stuff, for different people. Some probably loved, others couldn't wait for '10. Either way, it's a new year, and time to look at my top 3 for 2009. Tracks and albums. I know this isn't a top 10, but I don't want to write that much, and I'd rather everyone check out the music instead of talking to me or reading what I have to say. Alright, let's head on in...



ALBUMS

3) The Whitest Boy Alive - Rules

Bubbly, catchy, poppy, Norwegian goodness. Musically interesting and engaging as well, "Rules" picks off where 2006's "Dreams" left off, continuing a string of glittering, joyful pop nuggets, perfect for jamming to, rocking out to, head-bobbing to, or all of the above. Favorites: 1517, Courage, Timebomb.

2) Dam-Funk - Toeachizown

It doesn't get much more mellow than trippy, glowing modern day funk straight out of L.A. Dam-Funk does it best when he's got only a Moog and a synthetic drumkit, weaving dense, boppin' rhythmic funk biscuits (24 in total) that sample the best of his epic, five volume EP releases all through 2009. A locked-in groove is never far away, and DF's masterpiece gathers tracks ranging from 2 minutes to 9 minutes in length. Good for listening at any time. Dreamy, sky-bound, trippy, ethereal, lush, groovy, this is funk in the most serious meaning of the word. Favorites: 10 West, Toeachizown, Candy Drippin', Galactic Fun, Flying V Ride.

1) Phoenix - Wolfgang Amadeus Phoenix

Maybe it was just me, but in a year of dark, brooding, ever-pervading moody releases from all fronts, it's nice to hear something genuinely cheery, yet seriously cheerful. Not goofy happy. Honest to God, meaningfully happy and joyous. And nothing exhibited this better than Phoenix's third album, released right at the beginning of summer. The rhythms, vocals, melodies, everything just clicked. Not a single bad song on the album either, another fine example of quality over quantity. Say what you will about deep Pink Floyd albums, epic A Perfect Circle business, or Nine Inch Nails...whatever. Sometimes a little dose of happy can beat them all when the time is right. Favorites: 1901, Lasso, Rome, Lisztomania.


TRACKS

Scratch it. I'm going Top 10 for tracks.

10) Funkagenda - Breakwater (Dataworx Remix)

Thick, rumbling drums underneath a sheen of perfectly rhythmic toots of a pipe organ? Sign me up. Dataworx took a lush, clubby original and ran it through a tech house converter, flattening the track out before blowing it up and plunging it underwater. Beautifully rhythmic, while still retaining the effervescent, beach-time sensibilities of the original.

9) Andy Chatterley - Jets

Epic, furious monster of a track. Andy Chatterley's aptly titled techno cut on Saved Records is a wonderful example of a kitschy theme done correctly. A simple, metallic synth riff kept things in focus while the very electronic-sounding drums bounced and rumbled amidst the roar of jetplanes taking off and landing. The sudden, violent breakdown shook the entire track as a blaring siren rang out in fearful, menacing calamity. A monster, indeed, that shook both heads and bodies.

8) Stimming & H.O.S.H. - Radar

Funky tech house at it's best. Rippling and yawning for the first few minutes, Stimming and H.O.S.H. sent this whining, blaring freight train (literally) of a track up a proverbial and literal mountain of sound, the whole time the beat wavering and shaking in fearful, empowering audacity. Body-shaking and mind-numbing; the ballpark organ in the throes of death for the entire track. Definitely odd, but completely danceable and beautifully dark.

7) Yeah Yeah Yeahs - Heads Will Roll (A-Trak Remix)

A-Trak delivers with another quality remix, nearly on par with the untouchable remix of his of Sebastien Tellier's "Kilometer". Hip-hop tinged drums, a rubbery bassline, and excellent use of Karen O's vocals, this track is a winner from start to stop, and it really showcases A_Trak production abilities and how he can mold a track expertly while keeping it true to form, something most remixes fail to understand or catch onto. A club hit, in every sense of the word.

6) Calvin Harris - Flashback (Eric Prydz Remix)

Prydz rarely releases any remixes, but luckily, when he does, you KNOW they'll be quality cuts. Example? His typically, but beautifully proggy remix of Calvin Harris's "Flashback". Typical Prydz here ad nauseum: rhythmic, proggy synths, thumping, repetitive drums, it's all here. But Prydz cutting up and subsequent use of the vocals work absolute wonders, pulling a dreamy, velvety cloth over the listener's eyes and ears, plunging the track through a head-happy, whirling progressive house dreamscape that you can't help but dance too. Kudos to Prydz's production skills; this is an absolute winner.

5) Mayer Hawthorne - Green Eyed Love (Classixx Remix)

Lush, creamy, and shimmering: anything Classixx touches turns to gold. Stones Throw signer Mayer Hawthorne, with his Motown-via-a great white guy voice schtick (a great schtick at that) gets the indie dance treatment from Classixx. Lush synths billow, rise, and fall gently and beautifully against Hawthorne's exquisite voice. Dreamy, ethereal, with a dollop of soul; this track has it all. Best for sittin' and listenin', drivin', or just...relaxing.

4) Inpetto - Catwalk

Up to this point, I had never really been a fan of Inpetto. A slew of decent remixes and a few originals on Big & Dirty never really caught my attention, but then Catwalk came along and changed all that. A metallic, prog house beat falls into place alongside blippy, equally metallic synths, before...the sax solo. Holy shit, this came out of nowhere, but oh man, the rhythmic sensibilities soar afterwards, and the solo absolutely turns the song into a house must-have. Head and body music with a "sax"-ual twist. Aha.

3) Danton Eeprom & Radio Slave - Grindhouse (Dubfire's Terror Planet Remix)

Hoooooooly shit. Few things have more power than this track. Growling, heaving, menacing, viscous, powerful, absolutely clobbering. The bassline thunders along amid Eeprom's ghastly, haunting vocals; an air of fear and menace filling the air for the near 11 minutes this track hangs around. Barebones rhythm here works wonders, and this ends up being one of the best remixes of the year. Any time you thing about doubting the track, just wait for the hiss of the pistons and Eeprom's omniscient , commanding voice...then we'll talk.

2) Anything on Great Stuff Recordings.

There. I said it. This is my list, so if you disagree, fuck off. EVery single time I check for new tracks, I always return to Great Stuff. Butch, Lutzenkirchen, Ramon Tapia, Martin Eyerer, Namito, Oliver Koletzki...a bunch of excellent tech house producers that release amazing stuff every single time something new drops on Great Stuff. Ramon Tapia's Latin-esque "Sunka Sanka" and "Start It Up", Mike Monday's rhythmic, head-boppin' "Zum Zum", Butch's beautiful, starry-eyed remix of Luomo's "Tessio", Benno Blome and Martin Eyerer's eclectic "Pianoroll", Mason's atmospheric, techy "The Ridge", Lutzenkirchen's ominous "Borderline", the list goes on. Great Stuff is always 100% quality stuff. If it ain't broken, don't fix it.

1) Sebastien Leger - The People (plus Eric Prydz remix)

Leger at his experimental best. Taking a Marilyn Manson sample and completely fucking it up. Techy, violent, grating, an absolutely beautiful example of going outside of your comfort zone to wonderful results. Not only is the original amazing, but Prydz's remix extends it a bit and introduces each element to thunderous effect. Tweaking the vocal sample into the track's sole melodic element, underneath devastatingly simple synths and drums, this is a tech-prog-house joint that completely destroyed everything else I've heard this year. Maybe I enjoyed a few tracks more, but I can always return to this 10 minute sucker for a complete and fully enjoyed listen.



That is all. Enjoy! Give me your thoughts, and give everything a listen if you're of a mind. Happy New Year's to all. Let's make this the start of a great decade. '10.

-NL