Mason - The Ridge

Great Stuff has always been home to, well, great stuff. Kind of speaks for itself I think. But anyways, I'd like to review one of my favorite EPs on the label, an oldie but a goodie: Mason's "The Ridge".

The Ridge (Original Mix): Supported by a killer synth riff, the original floats above the spastic hi-hats and toms, fluttering with a light buzz-saw sound that comforts instead of abrading. Another synth riff follows out of the clouds, a percolating, arpeggiated progressive-esque synth that glides off into the sky. A second riff circles this rising mass of sound, drenched with humidity and ever-expanding like a balloon. Handing off the melody to a kitschy vocal organ (that somehow works, don't ask me how,) the track continues its ethereal, highly melodic journey until around four minutes, when the hi-hats drop out and arpeggiated synth alights once again amongst this cloud of sound. It almost sounds like a massive, churning machine at work, before the drums return and the cut floats off into the ether. I honestly can't easily categorize this, and neither is it the most danceable number out there. A slice of ambient tech house, what have you, for the head, more than the feet. A glowing success either way.

(4/5)



++++++

The Ridge (Peter Juergens & Oliver Klein Remix): Juergens and Klein turn on the remix to turn this track on its head and send it spinning directly towards the dancefloor. In the first minute, the original's ambient cloud cover is rattled by a kick and snare, establishing immediately that this mix was built to be danced to. A rollicking bassline joins the fray, and the main synth stab is spread out deftly, deepening the drama and drawing out the better qualities of the original. The focus here is the atmosphere and the main riff; building a solid structure around which the original can sit suspended in mid-air as it loves to do while people dance and groove below. The first time the main riff comes in, the rhythm works its magic, showcasing why the original needed such a kick in the first place. This is bound to get hands clapping and feet stomping if played at the right time. A great remix that plays the fence expertly while adding just enough of what the original needed.

(4.5/5)



+++++++

The Ridge (Tomcraft Remix): Tomcraft takes what Juergens and Klein did and expands on it ten-fold. He beefs up the low-end with a rumbling, growling bassline and acidic, squelching synth stabs while jacking up the tempo a few degrees. Congas drop in a few seconds later to give the illusion of a chase through the jungle underbrush; urgent, rhythmic, and very tribal. As far as the main riff is concerned, Tomcraft does the best job of giving it OOMPH, keeping the bassline and kick going even when only the synth line remains. However, his staccato, stabbing treatment of the melody posthaste is sadly sub-par, and the man uses one-too-many glitchy, robotic swells. Things get metallic and mechanical a little over halfway in, and what started as a jungle chase ends as a confusing jumble of odd synth stabs and congas. Needless to say, the two do not mix, and this remix loses the steam is gathered during the first half. I will give Tomcraft credit for a killer intro and excellent use of congas...until he brought in those dreadful stabs. Needless to say, I still love this remix. I do not even know why exactly, but Juergens and Klein's remix edges it out for best on the EP.

(4/5)



++++++


MASON - THE RIDGE EP = (4.25/5)

Yeah, yeah, I went with a .25 percent. So what? It's a slightly better EP than the last one I did, because of the diversity and quality of the remixes. Can't go wrong with any of these cuts, and I highly recommend it for car or home listening. Killer album art too.

-NL

Remix: Session 05 on Diynamic

Continuing my string of actual reviews, I'd like to review something that actually dropped today on one of my favorite labels: Diynamic. Solomun's 2008 debut album on Diynamic, "Dance Baby", has received the remix treatment on a few of the past Remix: Sessions on the Hamburg DJ/producer's label, and Session 05 looks to continue the trend of solid releases with the likes of Manuel Tur and Tobi Neumann on remix duties.

Cloud Dancer feat. Ilhem (Manuel Tur's Syphon Drum Mix): Manuel Tur is up first, and takes "Cloud Dancer" for a deep, majestic ride on his "Syphon Drum Mix". Tur slings the track through cloud cover for the first few minutes, the vocal line by Ilhem creeping in a minute or so in. Crisp hi-hats patter like raindrops over a solid, strung-out synth note, with a deep, jugular synth line buoying the entire track. Being a man of the flavor of deep house, it's only right that Tur plays an equal footing between tech house and deep house; heavy, plunging chords seem to pluck your very heartstrings as the melody gets stuck in your head and rides the groovy, lightly syncopated beat all the way to the end. Ilhem's voice crawls in and out, as if lost in the clouds himself. A suitably epic remix with girth, power, and a dollop of emotion for good measure in those bottomless, dreamy chords and melody. While not nearly a peak-time record, certainly a sexy, sensual deep house cut with just enough tech house to work at multiple parts of any set.

(4/5)




+++++

Cloud Dancer feat. Ilhem (Manuel Tur Instrumental Mix): Tur's Instrumental Mix is just like the original remix, minus the vocals. Just as delicate and heavy as the vocal mix, but with a little less drama. If you don't like vocals murking up your groove, this is the cut for you.

(3.5/5)



Hypnotize feat. Ilhem (Tobi Neumann Remix): Tobi Neumann turns up on the flip to rework Solomun's "Hypnotize". A bubbly, hypnotizing track, Neumann injects a hefty helping of rhythm and funk to the already groove-laden, ambient tech house cut. A short, choppy guitar riff takes center stage, surrounded by ghostly vocal samples that hover around the riff, keeping the track rooted in its deep tech house feel. A jet-like, pulsating bassline ripples underneath an equally squelchy, bouncy synth line. Neumann's drums are funky and groovy, and a bit more straight-forward than Tur's, and what you get is a more house-oriented remix in the end. But halfway in, the vocals and synths take over, as a funky bass riff keeps the low end chugging along. After that, its a funked-out, rhythmic freefall to the end of the track. While Neumann's remix is a little more straight-forward, it lacks the hook the A-side had going for it, but makes up for it with the groove it puts down, getting to the point much quicker than Tur's take does. It's a tough call, but this remix also gets a four, for the rhythms, groove, and of course, funky guitar Tobi Neumann wisely employs!

(4/5)






REMIX: SESSION 05 = (4/5)

Manuel Tur and Tobi Neumann both hand in stellar remixes; Tur's take being a well-balanced deep tech house cut with an epic, anchoring synth line, and Neumann's mix being a housier, funkier means-to-an-end, with the end simply being a groovy, vocal-centric remix. Both succeed, and that's why I recommend this EP for any fan of deep house/tech house/Diynamic. Another great Sessions EP.


-NL

Inspiration / RYMD 2010

What...the fuck. Seriously? Like I stated in my previous post, it's hard for my favorite producers to disappoint me. But this one takes the cake, eats it, and then laughs at you because you were stupid enough to think you'd get a piece in the first place. Let me explain.

Pryda's latest release on his own Pryda Recordings is the ironically titled "Inspiration", with the title track on the A and "RYMD 2010" on the flip. A little history lesson now. Back in 2005, Prydz released what is arguably his best track, "Genesis", on a white label, and only by chance did I manage to nab my digital copy (it's not on Beatport, God only knows why not) and it quickly became one of my favorite tracks. Now, if you're at all familiar with this track (or just listen to the first part below) you'll notice that crucial sweeping chord section at the beginning....listen here...(It comes in about 20 seconds in and gets louder)




Heard it? Yes? Alright, now listen to the beginning of "Inspiration" and tell me there isn't something foggy about said track....



INSPIRATION: Listened? Yes? Alright. THEY'RE NEARLY THE SAME SYNTH LINES!! Only, the one in "Inspiration" is filed down to a shadow of what the line was in "Genesis". I don't know if Pryda was "inspired" in this manner, but he ripped off his own track for a shittier, watered-down version. The rest of "Inspiration" is some shitty trance chords and a vaguely interesting, typical-Pryda orgy of prog chords, effects, and gritty blips and bleeps. This is derivative and classless.

(1.5/5)

-----

RYMD 2010: God. You cannot be serious. This is a release of a less-than-three-year-old track. Goddamn it. Anyways...the original was a steady, teched-out workout of a track, an unflinchingly blistering Pryda cut that worked magic on both the house and techno fronts. This 2010 update has been smoothed out, with some lush, ambient pads in the intro that dissolve away to reveal the main synth riff. On the whole, this is a much more melodic affair, giving the track some nice proggy chords to work with, while keeping the overall feel of the original. Unfortunately, the lack of smooth, melodic taste is what gave the original its visceral, unrelenting techno feel and vibe, and although its not completely gone, is definitely reduced with those nice but ultimately unnecessary prog house chords. Here's the update, followed by the original. Again, the update is still solid, but the original was better in more ways than one, so unfortunately the update falls a bit short of impressive, especially owning to the fact that the A-side is a raging shitstorm...too bad.

(3/5)

The Update:


The Original:






INSPIRATION / RYMD 2010 = (2/5)

The crap A-side, coupled with the peculiar, unnecessary update on the flip make this one disappointing, very odd release from a man usually in key form. Oh well. The stuff he debuted at WMC looks promising. Let's forget this debacle ever happened...

-NL

Balkamaniac / Les Frelons

I am the first person who will readily admit that I am rarely disappointed by a producer's release, if that producer has found favor with me before. If I like you, it's hard to disappoint me, basically.

But unfortunately for Sebastien Leger, his last few releases on Mistakes Music have been, well, eh. "Bubbly/Discotechno" dropped last August, with the former track being a gauzy, rippling little tech house number that never really went anywhere, instead opting to spin circles around itself for a little over seven minutes, and the latter being a completely forgettable mess of bells, toms, and odd, wheezing vocal samples. "The Rhythm" dropped in November, and was a run-of-the-mill Leger cut; rhythmic, organic, but hardly interesting and lacked the crucial hook that many of Leger's best tracks carry. The Format:B remix on the flip was a slightly housier affair, shuffling and swaying drunkenly with some inflated synth riffs and the complete lack of anything abstractly rhythmic, which is half the draw of a Leger track! Finally, "Binola/The White Island" dropped a few days before Christmas, and both tracks were nearly the same: rhythmic, by this point kitschy with the goofy samples and effects Leger oft applies, and sputtering for anything memorable, which they failed to do, although "Island" brought an interesting melodic element that wasn't explored well enough to be anything but passingly interesting.

At this point in time, Leger released "Plik Plok" on SCI+TEC Audio, and once again, it was an exercise in minimal tech house with an eye for rhythm and percussive poignancy. It fell on deaf ears, at least for me. Sebastien Leger had become derivative of himself, producing basically the same track over and over again, and by now he couldn't really go any lower in my eyes. Keep in mine, none of the previously stated tracks are bad per se...they just lack the fresh, lush groove that Leger is known for.

Luckily, we're all but saved by his latest release on Mistakes: "Balkamaniac / Les Frelons". I'll be honest, at first glance, I gave these tracks the cold shoulder, shuffling them in with the other disappointments of 2009. But I was wrong to do so. Observe...

BALKAMANIAC: Now here's what a real Leger track sounds like. Rhythmic from the start, like all of his other productions. But here's the key element the others were missing: a hook. Admittedly, things chug along unfettered for a good few minutes, but then a twitchy, spastic acoustic guitar riff comes in, and things start to funk up a little bit. This is supposed to hint at the inevitable breakdown, and what a breakdown it is: vocal cues...RRRRRRRRRRRRRRRRAHH!!!!!! A horn section, strings, guitars, this is Leger's tribute to the Balkans, in sound and spirit. It all pays off, and the breakdown is classic, glorious Leger, with a catchy-as-hell horn riff that plants itself in your brain and wraps beautifully around the lush percussive elements and raw sound of Leger's production. And at nearly nine minutes, the party's bound to happen again...

While no "Talisman", "Balkamaniac" succeeds with a palpably "party" vibe, excellent production that's always been present wed with a catchy, fun-loving hook that works wonders with the other instruments to create a funky, groovy tech house cut worthy for release on Mistakes Music. Kudos, Sebastien, what a return to form!!

(4/5)



-----

LES FRELONS: Don't forget that crucial B-side. Classic Leger releases always had a great B-side, and I can safely say that this is also a return to form, with the robotic, squelchy "Les Frelons" taking its place behind "Balkamaniac" on the flip.

This is what tech house sounds like underwater, and unlike previous Leger productions, this one is lacking in the effects/rhythm department. Just a little, though. Usually, Leger goes for a minimalistic maximalism, filling headspace with sparse effects, noises, bleeps, and all kinds of audio fauna to compliment his lush productions. "Les Frelons" is more straight-forward, a barreling, bubbling subtle stomper of a tech house cut that sounds like its being smothered under the weight of a water bed. The sound is reserved on the high end, saving that space for a good ol' cowbell, of all things. But it works. The warped, slithering synth is the highlight here, as you can never quite tell what it is or what its doing, but it anchors the track with a solid rhythm that does not need any additional backup like usual Leger tracks do. This one floats on its own, and it might not have a hook, but this is the camp of Leger cuts that don't need a damn hook. Good for a bridge between tracks in any set, and on its own, a top-tier rhythmic tech house showcase for its spasmodic, trance-like synth structure, and irresistibly danceable rhythm. Once again, Leger turns in a quality production. What a record this is!

(4/5)




At the end of the day, Leger is back on his form. His recently did BBC Radio One's Essential Mix for Pete Tong's radio show, which highlighted some upcoming Mistakes stuff, from Leger himself, Popof, and Lutzenkirchen, among others. The future looks promising for Mistakes Music/Leger, and despite a minor slump, things are back to normal. Highly recommend this release to anyone that wants to familiarize themselves with Leger's classic tech house sound.

Definite summer bangers, both of them.

"Balkamaniac/Les Frelons" = 4.5/5


Until next time...
-NL

Label Spotlight: Cocoon Recordings

As far as techno goes, I feel that any average listener these days is a member of one of two camps: the minimal side of techno, or the darker side of techno. Cadenza tends to exemplify the former camp; rich, bubbly, organic productions that ebb and flow with the typical reserved minimal beat. Thomas Melchior, Loco Dice, Reboot, Ricardo Villalobos, etc. These productions tend to be long-winded, with no real peak or end. Even those with one find it much curtailed and subdued for the sake of atmosphere, texture, and headspace.

In the other camp, however, lies the true power of techno. Cocoon Recordings, to me, exemplifies this camp, home to ominous, brooding, visceral, variably "cold" productions. Where the warmth of Cadenza's minimal cuts fill one with awe and seek to define every space with sound and atmosphere, Cocoon looks to fill space with snarling, blisteringly unflinching techno, a much darker sound, but every bit ready for the dancefloor, much more so than Cadenza.

In short, Cadenza is the warm day, Cocoon is the cold evening.

But this doesn't mean Cocoon doesn't have something for everyone. Founded in 2000 by German DJ/producer and Ibiza mainstay Sven Vath, Cocoon has a general focus on techno, with occasional forays into tech house and minimal techno. The structure of the label itself allows for young producers to get their music out without the binds of a major label. A noble pursuit that you don't really find in the music business these days.

This leads to me to one of my favorite things about Cocoon and my first point on why you should check them out: their variety of producers and sounds varies widely, and the volume/frequency of releases will keep listeners coming back for more and even send some curious folks deep into the back catalog of this wonderful Frankfurt label. You have big names like Steve Bug, Argy, and Martin Buttrich releasing 12"s besides fairly lesser known producers such as Lucio Aquilina, David K, Egbert, and Phonogenic. I absolutely love this variety and big name next to unknown, and its a testament to the mission of Cocoon stated above. Luckily, quality is shared by most releases: anything on Cocoon is going to find itself being spun by the biggest names.

Another thing I love about Cocoon is the sound. As I said above, it's a much darker, straight-forward sound than minimal techno or Detroit techno for that matter, but the use of sound effects and the general atmosphere and mood of tracks varies, and you can bet most Cocoon productions will bring to mind such words as urgent, sinister, brooding, ominous, relentless, thundering, pulsating, and clicky. Ah, clicky. That's the final thing I'd like to point out about Cocoon. Tracks here are very "electronic" sounding: blips, clicks, whirrs, various sounds of electronic gadgetry give these songs life, albeit a very hollow, robotic one. This is true electronic music, and it unflinchingly warms to this label. Best spun at late night parties, and whenever you're feeling...rigorous.

Here are some highlighted tracks from Cocoon that I love:

+++++++++

Egbert - Groots Uitpakken



I know, the name is unpronounceable. But this is classic Cocoon. Synths writhe and snake beneath a hissing, bottomless bassline that, with the crisp, sharply produced drums, sound like its being strung over a gaping cavern, with all manner of creatures peering from inside and just waiting for the cut to make a mistake and plummet to its doom...dark, whirring washes of synth brush over the warped bassline, and at one point you even hear the voice of a girl...to bad she takes an unfortunate fall. This track breathes atmosphere, and gives immediate credence to the dark, borderline "evil" sound of Cocoon productions. Oddly enough, there's something about this cut that still sounds sensual, and in the end, this is still made for the dancefloor. Tightly produced, dynamically varied, and firmed rooted in techno.

-----

Phil Kieran - Wasps Under a Toy Boat



Another seizure-enducing production. Phil Kieran brings a laser-esque pad, thunderous kick, and sickly, morose synths to a heavy-handed, immoveable beat that shakes the foundation of the track and nearly beats the low-end to a bloody pulp. Uncomfortable, yes. Listenable, definitely. Danceable, absolutely. The buzzing, whirring synths wrap nicely around the bombastic kick and snare, before cutting out and starting from scratch, spiraling the same synths up that hive of abrasive, ugly bees. Whining, groaning, and sputtering until the end: a great track, and certainly a startling one at that.

-----

Stefan Goldmann - Yes To All



Stefan Goldmann outdoes his great Innervisions work with this masterpiece, one of my favorite Cocoon cuts of all-time. Sinister even in the melancholy old movie sounds it samples, Goldmann's "Yes To All" is a rubbery slice of techno complete with a catchy, simplistic synth riff that bubbles and bounces right along with the equally elastic bassline. Sharp, clean drums are the order of the day, as is the case with most Cocoon productions, but Goldmann's drums are especially so, meshing crisply and deftly with the synth line. Around 4:30 a dark, equally simplistic bell riff pops in, complimenting the main riff nicely, though arguably unnecessary and downplaying the main synth riff. For me, this little bell riff doesn't really add anything that the track didn't have before, and it is wisely removed a few minutes later. The track is left to bounce itself until there is no more bounce left, and it does just that. A rhythmically addicting little number that gets top marks from me.

-----

Martin Buttrich - Hunter



This final cut is from one of my favorites, Martin Buttrich. His Planet E stuff will always remain untouchable in my mind, but his Cocoon stuff definitely is worthy. "Hunter" kicks off with sparse drums and licks before rolling in one of the most sinister and deep basslines I have ever heard. The kick is equally forthright, and toms come in half a minute later to build a foundation for the bleeping, urgent synth riff. While not exactly memorable, this synth line fits the track well, with the entire cut giving a sense of urgency and command to the listener, as if they're a hunter themselves, searching and sneaking to find their prey. A good track that highlights the pros of Cocoon: dark, cold, and rhythmic to no end.

-----

Pig & Dan - Deliverance



Holy shit. How could I forget my favorite Cocoon cut of all-time? "Deliverance" is brooding and then some. A huge kick bangs things into gear, with a trickling, clicking tom in the background, with a hi-hat dropping a minute in. Soon after, a gargantuan, heaving monster of a pad comes out of the dark, clouding the entire track and breathing an evil, pulsating life into it that carries to the drop of main synth riff: a careening, thumping beast of a riff that sticks in your head. Paired with a staccato trancey-sounding harmony, the track goes nuts and plows through all other noise and sound around you. "Deliverance" is defined by command and presence, with the tempo, beat, and synths of dark techno if ever I heard it. Of all the tracks, I recommend this most and feel this most closely represents the feel and sound of a Cocoon Recordings track.



=========


Enjoy, folks! More Cocoon can be found on Beatport, and you can search Discogs too for a back catalog to find more great Cocoon tracks, because I can promise you there are WAAAAAY more than I outlined here. Go nuts, and once again, enjoy!
-NL

A Quick 5

Here are a few tracks I've been playing for a while...I'm going to try to move away from my normal style of long track descriptions for a few quick, easily readable and digestible snippets of wordage. Here's a quick five tracks I've been enjoying:

1. Cobblestone Jazz - Put The Lime In Da Coconut [Wagon Repair]

I think this is the electronic music equivalent of anything Phish. A mindless, long-winded electronic jam with a consistently jazzy, upbeat groove that underpins everything else happening around it. There's still definite structure, but you absolutely cannot ever predict what will happen next, which makes this a great background record at any party: light, groovy, jazzy, bubbling, and serpentine dynamics put this track all the map musically. No climax here to speak of, but it's the journey that is most intriguing and enjoyable.

2. Max Vangeli & AN21 - Swedish Beauty [Refune]

It's March. You know what that means? The WMC, of course! The greatest weekend ever combines DJs, electronic music, parties, and people in a gloriously unholy jubilee of grooves and vibes. The best progressive house and electro house records usually find their debuts and subsequent releases during this weekend, and already Sebastian Ingrosso's imprint Refune Records has a killer tune lined up: Max Vangeli & AN21's "Swedish Beauty." Built upon typically proggy chords, washes of serenely filtered pads, monolithic kicks and clean, crisp snares, this track brings all the rhythmic tricks of progressive house to the table, and the wickedly catchy main synth riff hitches itself to a string section that sends it through metaphorical clouds; absolutely euphoric, melodic, rhythmic, and exactly what a prog house cut should sound like. This'll definitely gets some plays at Ibiza this summer...

3. Luomo - Tessio (Stimming Remix) [Great Stuff]

As I have previously said, Great Stuff can do no wrong, but with this release of remixes for Luomo's beautiful "Tessio", they did something wonderfully correct. Stimming's remix is the highlight; a warm, sensual tech house romp completely with all the flora and fauna of a jungle to compliment one of the sexiest horn sections I have ever heard. And you hear correctly, those "snares" are not coming in every two beats. This effect deftly stretches the track out, giving the illusion of a deep house cut instead. This is the real beauty of this remix: it plays both sides of the field wonderfully, and works wonderfully either as a late-night burner or build-up cut. Be warned, though. This track has been known to turn on anybody who hears it...no joke.

4. Tycho - Coastal Brake [Ghostly International]

Holy crap. This track is the physical manifestation of a cool summer breeze. That's exactly what it is. Ethereal pads, warm, wispy, dreamy synths and effects over actual ambient oceanic noise calm the mind, relax the body, and send you straight to the shores of California. I love playing this on warm nights, it's absolutely elating. Great for early morning, late night, or any and all beach parties. This one's kind of old, but Tycho has been releasing amazing stuff on Ghostly in prep for the release of his second LP, so stay tuned. This is a keeper.

5. Julian Jeweil - Soho [Cocoon]

Cocoon is the home of ominous, throbbing, mechanical techno. There's been a trickle of releases since "The Sound of the Tenth Season" got released, but this a glowing success of a release in my mind. Sure, "Color" and "Amore" all carry the similar tech-house-with-techno-sensibilities groove, but "Soho", the B-side, does it for me, with a sinister, eeriely-warped vocal sample that works great against the elastic, rippling bassline and airplane-drone synths that surround it. Scary shit, yes, but I have no doubt this will destroy quite a few dancefloors, too. There's even a hint of melody near the end!




You can check all of these out on YouTube I'm pretty sure, but if not, just search for them on Beatport. And no one's saying you have to buy anything...just listen to 'em! Enjoy friends, and expect more to come soon. My schedule is taking a breath before it chomps down completely when AP exams start to roll up.
-NL

The Tracks, Pt.2: Take A Seat, Talk To Me

Listen. Listen. Listen.

Jori Hulkkonen is an interesting producer. The Finnish DJ/producer, who most often calls Turbo Recordings home, turns up on remix duties for Chromeo's normally funky, groovy "Bonafied Lovin'". Hulkonnen works a kind of magic that I have yet to see bettered. He turns this track on its head, creating an erratic, melodically-inclined "lite" techno groove that hums and glows a thousand feet above your head. His smooth, electronic purring synths create a bed upon which Dave One's vocals float perfectly, creating an almost R&B-esque feel: creamy-smooth, easy on the ears, grooving, and, dare I say, mood-setting. But halfway in, the snare drops, and you remember that this a dance track. But against the beautiful harmony and quirky melodic riff Hulkonnen throws in, this track remains undefinable. Things continue to dance and shimmer under the sea of synths until a scooping, blaring pad rises, nearly screaming in electronic groans over the serene sonic landscape. This creates a sort of melancholy "spin" on the sound, and you can no longer figure out if the sound is epic and majestic or dark and surreally foreboding. This track is less for the dancefloor than for your headphones, alone on your bed, staring at the ceiling, thinking. Unpredictable, flawed, fragile, beautiful, these are all words to describe this cut. And I know I'm generally a person who loves to go adjective-happy when I describe a track, but only by directly describing the sound and directly connecting it to emotions can I get across the meaning that it has for me. This track cannot be defined. Listen, and marvel. Or recoil. Simply listen, and allow your brain to marvel and wander around the sounds and what you think of when you hear them...another one of my favorite cuts of all-time.

Chromeo - Bonafied Lovin' (Jori Hulkkonen Remix)

-NL

The Tracks, Pt.1: A Journey Through Ghetto Space

Ladies and gentlemen, prepare your ears for a journey unlike any other.

Congorock comes the Fool's Gold camp, that is to say, electro, electro-tinged hip-hop, acid house, and any combination of said sounds. His debut EP was a warped, dissonant workout of latex basslines and head-banging keyboard riffs. However, the true beauty of this debut single, "Runark", lies in the Jokers of the Scene remix.

---

The track begins simply enough; spacey, echoing synths set the cut in surreal, ambient atmosphere before they are joined by a colossal power-house of a kick that jars rhythm and foundation into the track, before the crisp, sharp claps further build the rhythm and the beautifully, oddly harmonic and atmospheric synth riffs quiver from underneath the muck of the track, slowly emerging into full-on majestic house glory. Around two minutes in, the acid squelches begin, buzzsaw synths that shake, shatter, and grind your ears against the cataclysmic synths and bass, while the entire track seems to ebb and flow with the buzzes and the hisses of the synths and the bassline. Once again, the track grows slowly, the synth lines again crawling out of the mist, as radiant and wonderfully complimentary as ever. At about four minutes, the buzzsaw bassline is brought to the forefront, and in typical JOTS style, the B-more club juke drum sound is brought in against a cut-up vocal sample, and the synths emerge yet again, for a final bow, snaking and circling the vocals and bass infinitely in a marriage of the warped, off-kilter, rhythmic, and tragically majestic. Things you wouldn't think go together can sometimes surprise you, and this track is the musical equivalent to peanut butter and pickle sandwiches. The peak of the track drags out of the drums and caresses the beginning acidic pads over the beefy layer of bass and synths before letting only the pads fad into the ether form whence they came...

The beauty of this track is the atmosphere it creates, filling sonic holes with so much, yet the track doesn't sound overdone or overflowing. It roars, prances, ripples, buzzes, and everything in between. An amazing track and remix that plays dance music and head music with equal rapport and skill. A true classic in every sense of the word, and definitely one of my favorite cuts of all-time.

More single reviews comin' your way. Stay tuned.
-NL

And The Sky Was....

Mornings are my favorite time of day. Especially the part right before the sun rises, and everything seems to exist in a suspended state of calm, serene bliss, like something out of a painting. Lucid, surreal, and infinitely amazing. And then the sun peaks over the horizon, and everything is bathed with the warming, welcoming glow of the morning light. Here are a few late-night/early-morning burners to either put you in the mood or bring you back into reality...



+++++++++++++++++++



This first cut is Superpitcher's Kompakt Remix of Dntel's "(This is) The Dream of Evan and Chan". Ben Gibbard's vocals roll smoothly along the undulating, rippling pads that glide effortlessly over the mild, yet stout kick and rumbling bass. Glistening keys echo and breathe life into the track, giving the track an ambient house feel with a hint of pop sensibilities and techno goodness. Dntel, additionally, is Jimmy Tamborello, or one half of The Postal Service. This track is meant to float, glide, caress, smooth out, nurture, and lull to sleep. It does all of these, using melody and harmony to its advantage over an intricate, buttery-smooth array of layered pads and synths. Majestic and serene, if anything.

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This next track is a little more out there...James Holden's eclectic remix of Nathan Fake's "The Sky Was Pink" ranks up there as not only an amazing track, but one that does many, many different things. Techno rhythms fused effortlessly and idiosyncratically with humming, winding pads and glassy, quivering synths. The drums work wonders here, equally rhythmic and catchy, presenting an interesting and in-your-face backdrop to a shuffling, rippling monster of a remix. Honestly, I cannot easily classify this track. The rhythms are clearly techno, but the use of synths and additional sound effects led it more towards tech house, while the spacey, gnarling pads lend this to ambient house...Holden's remix has its hands in many different baskets, but its the better for it. The cut never tires, finding new ways to crawl out of the rut of any one schtick, bringing fervor and energy while never straying too far from the main riff and drum pattern. Too many words can be used to describe this track, so I'll select my favorite: epic. A must-listen.

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This final record is one of my favorites, but it really isn't meant for morning...it's meant to signal the beginning of a very, very late night. Audion is the alias of American techno producer/DJ Matthew Dear, and under this guise he produces some of the most visceral, skeletal, hedonistic techno I have ever heard. On "Mouth to Mouth," Dear winds a squelching, snaking synth line under a blanket of hi-hats and blisteringly writhing pads, before laying down an extremely catchy, bare-bones drum pattern that, as simple as it is, perfectly compliments the lonely synth riff, and as the second synth winds itself up, the thunderous clap drops, and the rhythm section finally comes full circle, wrapping itself forevermore around the potent two-note synth line. Almost tribal by this point, the sound wraps, writhes, wriggles, bends, stretches, and titters on the brink of insanity before coming back into the confines of reality and bringing it home one more time with the kicks a kickin', At nearly 13 minutes, this track definitely takes patience, but for the lack of diversity and musicality of this cut, the rhythm, effects, sounds, and elements add up to make a minimal epic, a journey of sonic density and skeletal catharsis that drives the listener to the edge and back multiple times as the sound coils itself around them and refuses to let go. Minimal techno at its most basic and most powerful.



That is it for me. Sorry for the lack of posting lately, but I'm starting to get back into the swing of things! ANother post should be coming this week. Goodnight all. -NL