The revival of the late 1980s New Beat sound has simmered below the surface of a variety of Underground trends for a while now. Returning at a lower tempo, its releases retain the squalling synths that crown the jolting sound. YouTube channel, label & party promoter Les Yeux Orange (translated as Orange Eyes), has been a notable supplier of tracks that fall under such strain. Proponents of the sound pushed by the French group include Romanian duo Khidja and Moscow-hailing Simple Symmetry, amongst many others. Yan Wagner’s Belgian Trip remix of Bagarre’s electroclash-inspired ‘Le Gouffre’ original is a copybook example of the modern take on the Belgian sound.
The track establishes a cadence from the get-go, with a high-cutoff synth that glazes over the kick. A quintessential reverb-infused snare and clap combo drub with no remorse. The evolving collection of high-pitch synths intermingle to create a symphony that feels Middle-Eastern inspired. However, Wagner restrains himself from ample modulation that would borrow heavily from Acid Arab’s toolkit. The vocals that enter around the three minute mark are irregular in delivery. Providing tremendous inflection, they remind of the Robotiko Rejekto’s 1987 EBM classic ‘Rejekto!‘. Reflective of the track’s spirit, Bagarre translates as brawl, while ‘Le Gouffre’ means the gulf. With a breakdown that scales down to a single element outside of percussions, the structuring of 101’s ‘Rock To The Beat‘ is dexterously applied. The end result is a sirenic admix of chaotic sounds that have been blended to chill the spine.
Marco Passarani & Valerio Del Prete have been actively operating under the Tiger & Woods alias since the early 2010s. Opting for a lower BPM chugger sound, solidified in their Golden Bear EP, they show no shortage in the funk department. Initially keeping their identities a mystery, they have since headlined events such as Disco Express and Discopanettone. In such, the duos’ fancy for the sound that roamed Studio 54 is self-evident. ‘A Lovely Change’ is a track that reminds us why their 2011 track ‘Gin Nation’ gave them the breakthrough needed. Sharing a dazed, roseate sound both tracks paint the dancefloor with a ray of sunshine. Released on the good-vibrations aficionado Gerd Janson’s label Running Back, it falls neatly in the middle of their latest LP release AOD.
The new album, short for “Album Oriented Dance” pays homage to Tiger & Woods’ predecessors. Tracks such as ‘01:00AM‘ & are ‘The Bad Boys’ are love-letters to the genre of Italo Disco. Their most intact imprint of the project, however, is ‘A Lovely Change’. Mingling aestival percussions, balsamic ambience and standout vocals it is sure to colour the sound of many upcoming summer parties. According to Running Back’s album description, the project is glinted with cleared samples from “the Roman institution that is Claudio Donato and his Full Time and Goodymusic emporium“. In a way this is a revival to the approach that gave the Italians a foothold in the scene. Speaking with Tiny Mixtapes, the collaborators claim there to be a “huge difference between using samples and making edits“. In ‘A Lovely Change’ the vocals bring Sade’s ‘Diamond Life’ to mind, soothing the soul in a similar fashion to Soul Clap & Ahmed’s ‘Give It Up‘. For those familiar with the Balearic sounds of Alfredo Fiorito the breezy, pacific effervescence of ‘A Lovely Chance’ fosters a throwback. However, despite all the nostalgia, the production does not sound dated, with an updated concision that was absent in a lot of the 1980s Italo output. Continue reading →
Massimiliano Pagliara – Everything That Happens Is Supposed To Happen
Establishing an equilibrium between the downtempo and the groove is feat not easily attained. Maintaining intensity at the expense of a higher BPM requires high level of prowess. Young Marco, John Talabot & DJ Koze are just some of the producers we’ve covered who deserve accolade in this respect. Although the speed of the track can arbitrary (after all Marcel Dettmann savours playing Techno at a lower BPM), certain producers make the conscious choice to release their originals in such form. Massimilano Pagliara is another, with his 2009 Live At Robert Johnson release ‘Sometimes At Night‘ establishing him as a connoisseur of slower tempo production that maintains the vibes of a memorable party. ‘Everything That Happens Is Supposed To Happen’ is a 2014 release coming from his ‘With One Another‘ LP. Paying ‘homage to the past while simultaneously pushing the boundaries of dance music into the future‘, it is a deserving introduction to a DJ who finds comfort in his own lane.
The symphonies of Pagliara are often characterised by their Mediterranean flair. ‘Harmonize‘ is a prime example of his use of mellifluent strings that carry the legacy of Italo Dream House. His love for vintage drum machines is put on display here as the loops sounds unrefined by processing. The analogue bassline used looks to be revived in his recent release ‘Feel Like‘, coming from his latest LP. The DJ professes to becoming “addicted to machines” upon buying his ‘first analog synth, a Roland SH-101‘. Massimiliano’s track titles are often poetic in tone, with ‘Flying Away From You‘ & ‘As The Night Breathes’ being some of the names amongst a richly lyrical list. The elegiac melody of ‘Everything That Happens Is Supposed To Happen’ reflects such undertone. The cadence and the contagious rhythm, however, prevents the track from being desolate. As the Juno main chord pads enter with relentless rhythm, the listener becomes fully immersed in the musical world of Massimiliano Pagliara.Continue reading →
Paste Magazine discussed in 2018 how the Modern Rock genre has been left soul-searching whilst Post-Punk is thriving. The fractured nature of Post-Punk lead to the formation of many sub-genres. Synth-Pop, EBM, New Wave being just some that preserved its parent genre tropes, whilst interloping with electronic unorthodox sounds. These in turn gave birth to a wide variety of sounds including Italo, Bass, Techno, Cold, Dark and Minimal Wave, all of which edify each other. Listening to Peggy Gou, and even Jamie Jone’s recent remix of Teddy Pendergrass’ ‘Life Is A Song Worth Singing’, demonstrates that the style has hit the upper echelons of the underground dance scene. Desert Sound Colony, aka Liam Wachs, seems to be as fluid as any in carrying such sound. The Londoner seemed to be an ideal fit with his first releases being manufactured for Scissor & Thread. With hints of Indie & more angular Rock, they shared similarities with Bob Moses and Clockwork releases on the label. Black Light Smoke’s ‘Firefly‘ showed more ambition, however, and certainly Desert Sound Colony seems to have hit a power-boost upon hearing. ‘Lose My Rhythm’ is a track by a man at the peak of his powers. It unmistakably stands heads and shoulders, if not above, the rest.
Liam has also released under the moniker of DSC. ‘The Sorcerer‘, his 2017 release on Holding Hands Records was one that showcased his more experimental side. It had an abstractness, but minimal leaning of a Roman Flügel project. ‘Coming Round‘, released just a year later, was a return to his regular Post-Punk productions. A dance-floor belter, ‘Lose My Rhythm’ sounds like a product coming from the same studio sessions. A voluminous kick drum starts the track off before a warbling bassline kicks in. Vocals hum chorally. Sounding like a lovechild of Roland 909 and KORG MS-20, the gyrating melody is mesmeric. As one YouTube comment points out, the track sounds like an updated version of Belgian New Beat producer Richard H Kirk’s ‘Never Lose Your Shadow’. Guitar is plucked, before the main vocal enters. ‘When I Lose My Rhythm I Feel Alive’ it echoes with revelry. Naturally this paints a picture of a dancefloor bedlam. The punk influence kicks back in from the simple guitar picks heard in the breakdown. It all hits the nail on the head as it picks back up with crystallising splintered synth stabs kicking in. Hectic stuff. Continue reading →
Retrofuturism is used to define “the use of a style or aesthetic considered futuristic in an earlier era“. Artists such as Bruce McCall, Frank R. Paul and John Harris painted their visions of the new world. At times, the concept is used for stylistic vision found in Hollywood narratives. The film industry has produced movies like ‘Metropolis‘, ‘Brazil‘ and Stanley Kubrick’s ‘2001: A Space Odyssey‘, each offering their interpretation of the future. A sci-fi environment, of course, needs its own soundtrack. Progressive, psychedelic rock bands such as Pink Floyd formed space-age worlds full of anachronisms. Pioneering Jazz musicians such as Herbie Hancock propagated the branch of Afrofuturism. His 1975 album titled ‘Flood‘ features an album cover featuring an African-American astronaut. Yet none of the music genres come close to fitting as well as the electronic genre. The futurist world of technology gave birth to its soundscapes. Kraftwerk’s album Radio-Activityis an artefact in this respect. Forty years down the line, faint echoes of its phantasm can be traced in modern releases. Judging by his tracks Thomas Clarke, also known as MR TC, is a cum laude student of the German collective. ‘Golden Gate’, his release on Jennifer Cardini’s Correspondant 06 Compilation. The LP combines “palpitating ambience [with] chuggernaut technoid trips“. It is this year’s time travel back to 1970s Düsseldorf.
The track begins with drum instrumentation best described as downtempo Carl A. Finlow. The underscoring arpeggio moves along in an ascending order. Its analogue sound comes close to matching the 1980s soundtracks of Halloween 3 or Videodrome. The lackadaisical tempo gives of a sense of banality. One can imagine a scene of a lonesome robot carrying out its duties on an abandoned starship galaxies far away. All the while random spurts of ray gun and machinery samples lurk in the background. Then enters the liquid sine bells, accompanied by echo and reverb. The nautical sound feels almost doleful, contrasting with the dispassionate laser stabs. The dichotomy between emotion and enginery is united by the kick. The question, however, arises whether this kick belongs to the beating of the heart or the motor of the machine. This concept of man vs. machine was explored by labels such as Dubfire’s SCI+TEC. Using presets that intentionally sound nostalgic, MR TC creates an exhibition of retrofuturist aesthetic that is captivating. Continue reading →
Norwegian DJ and producer Bård Aasen Lødemel has had a long-lasting career that traces back to 2002. Deep House Amsterdam have defined his sounds as a combination of “Emotional techno, neo-italo, electro from an alternative future and a Scando-cosmic reinterpretation of pure Detroitian house“.The online community has noted that his strong facial hair draws comparison to Hip Hop artist Action Bronson. He’s also been described as being Santa Claus who brings tunes instead of presents, or Gimli on his day off. While often DJs carry a persona that feels detached of emotion while mixing, Bård’s body language emits bliss. Something that also this emanates in his production. Associated with a sound that’s ethereal yet groove-inducing, His 2016 Boiler Room set brought spaced-out electro grooves. The track that kicked-off the vibes was The Bells of Mist, his own production that epitomises his gossamer sound. Skatebård certainly brings a gift in this track
Bård’s sound transformed over the years, losing its tints of techno along the way. His first EP ‘Skateboarding Was A Crime (In 1989)’ featured zealous tracks like ‘Sgnelkab‘. However, since the late 2000s, he has pushed a sound that is an amalgamation of Norsk Disco & Italo Disco. The Bells of Mist incorporates a distinct ambience that communions with the late 1970’s producer Cerrone’s arp bassline. For a man who hails from the land of the viciously conquering Vikings, the concave pads used bring a sense of harmony. As the track title suggests, the heavy use of reverb creates an atmosphere of brume. A 111BPM contributes to the overall feelingness of haze akin to a mellow dream, in which the dancer loses themselves in. Speaking to Ransom Note the DJ claimed to ‘see a lot of the colour red, meaning I try to make music that is “warm” in a way‘. Here, the warmness comes from the echoing bells that oscillate, substituting for a topline synth. Synths are given an opportunity to introduce themselves to the presiding ambience at the breakdown of the track, before the bassline and the drums join the jamboree. The tracks unique selling point is the ability to throw a party at a leisurely pace. Continue reading →
Nearing the end of this summer season, videos of scene-shaping DJs playing a certain track began to surface. Dixon played it at Sonus Festival while ÂME made sure it was part of his Lowlands set. Being underground connoisseurs, hearing it triggered a scramble to find it. Eventually, we were informed that craftsman behind this beauty was Benny Rodrigues, working under his indie-dance guise Younger Rebinds. Sven Väth approved, it made the cut onto Cocoon boss’ annual mix, The Sound Of The 19th Season. Freshly released on Gerd Janson’s Running Back label, the Frankfurt DJ is the lucky suitor for this jewel.
The track shares strong resemblances with synthpop bands that a have lenience towards Kraftwerkian elements. Most obvious comparison is New Order’s 1983 hit ‘Blue Monday’. In both instances, the underlining lower-end arpeggio serves as a bassline, injecting the crowd with a tingling sense of ecstasy. Those with affinity for MGMT’s ‘Kids’, Sascha Funke’s ‘Surumu‘ or Oliver Koletzki’s ‘Planetarium‘ will be enchanted. Key to the track’s potency is the evolving filtering and modulation that dictates the ardour, and the build up of the track.The midpoint breakdown is a bonzer opportunity for an acappella edit to fit the atmosphere of the environment the track is played at. Phased synths that surface give the track a sense of nirvana, further elevated by gliding leads.
After releasing Krystal Klear’s ‘Neutron Dance‘ earlier this year, Running Back records has struck gold once again when it comes to nonchalant nu-disco cuts.’Tim’s Symphony’ features on the The Sound of Benny EP, a project that is an exhibition of Rodrigues’ four aliases. Younger Rebinds embraces the 1980s spirit of electronic music, metamorphosing it into a 2018 supernova. Resident Advisor crowned the Rotterdam DJ as “Holland’s hardest-working DJ”, and with the extent of diversity displayed in his catalogue, that label might extend to his production.
The contribution by the Netherlands to music created with a computer cannot be underestimated. The three royalties of trance who ruled the airwaves of the scene were all Dutch. The current posterboy of EDM proudly wears his country’s orange colours when performing mainstage. However, the nation’s influence on the underground scene is equally as impressive. Dekmantel and ADE festivals bring thousands of pilgrims who gather to pay their dues at its annual gatherings. Renowned Amsterdam-based Red Light Radio radio hosts global trailblazing DJs ranging from John Talabot to Danny Daze. The range of the local DJs hailing from the Low Lands comprise of veterans such as Boris Werner & Legowelt, respected crate-diggers like Antal and emerging talent including Job Jobse, Benny Rodrigues and of course, Young Marco. Marco Sterk, the face behind the last alias on the list, has been slowly turning up the heat on the production cooker over the years. Released on Greco-Roman in 2017, his remix of Roosevelt’s breakthrough track ‘Sea’ is the culmination of his halcyonic interpretation of Deep House.
Marco’s signature sound combines soft percussion work akin to Nu-disco and Italo Disco cuts, with euphonious melodies. His Welcome To Paradise (Italian Dream House 89-93) Vol. 1 compilation is a retrospective, shoegaze house melodies that are a perfect fit for a hazy afternoon. It’s also a fair reflection of his production. With an infectious chord-progression dancing along to the rhythm conducted by a gentle kick, his ‘Sea’ remix incorporates the leading synth from the original with ease. While the elements separately lack modular sophistication, their effortless coherence is sonically rewarding. Tints of melancholia colour the 1980s palette that paints a landscape of Arpeggios. Young Marco portrays a tranquil scenery with the mastery of Wes Anderson’s direction.
Imagine driving your Chrysler LeBaron convertible down the palm tree-filled streets of Miami in the late evening of a 1983s summer night. As roller-skating girls giggle in the shadow of the neon lights you tune through the radio stations to come across Gary Gang’s ‘Making Music’. The final piece of the jigsaw completes the picture. The track was released in 1983 by Radar Records, a label responsible for some infectious disco-funk gems such as Toney Lee’s ‘Reach Up‘ (check out the incredible music video) in its short-lived existence. Makin’ Music is a prime example of the fusion between electro and disco that that was experimented on by the of the fringe of dance music back in the early 1980s. The end result is an electrifying voyage filled with reverberating arp bass that Giorgio Moroder would be proud of.
The Dub Version elevates the track’s performance in the club setting. Adding muscle to the original mix, the dub spotlights the laser-focused arpeggio. This gives the cut a timeless edge that stands the test of time. Its no surprise therefore that Morgan Geist and Darshan Jesrani, the names behind the Brooklyn-based house and nu-disco duo Metro Area featured it in their fabric 43 mix. The jocular drum work is inherited from the forefathers of 1970s disco scene such as Cerrone & Patrick Cowley. The feature of the flute, later immortalised by Frankie Knuckles, is borrowed from a soundtrack of the off-kilter movies that characterised the preceding decade. The contrast between its tranquilizing melody and the track’s robust energy creates a vortex of daze.Continue reading →
Soundhack and Errorsmith’s Smith N Hack project made waves after their remix of Herbert’s ‘Moving Like A Train’. The granular detail showed and punt to bring in old school sounds of brass band stabs was well celebrated. Dixon was more than happy to use it as his Vol. 4 closer on the Get Physical Label’s revered Body Language series. After their acclaimed remix of Ricardo Villalobos’ Easy Lee project it was evident that more was to come from the duo. Even though bleepy mnml from that period appeared to grow bland, ‘Falling Stars’ proved that bleeps used in a different way found still sound fresh. How so? The 2007 release used a wide variety of arcade machine, Atari video game noises. It brought a bit of life to the dancefloor while still maintaining its futuristic outlook.
Featured on Michael Mayer’s monumental Immer 3 mix, it is a killer cut. The way the track launches with just the 8-bit sounds descending from on high helps you understand why it’s called Falling Stars. These apps used by a JX8P machine are played at different BPMs and at different octave heights to create a magical world. In rumbles the double note MIDI bass, which is not too dissimilar at all to their ‘Easy Lee’ remix. I:Cube, Todd Terje and others on the Nu-Disco strain have used similar. This feels extra resonant with soul. This soul being heightened by the love sick ‘oo’s’ from the vocoder vocal is incredible. With tints of Italo-disco it talks about ‘At the end of the world, at the point of no return / I’m thinking of you, and my heart starts to burn.’ With all the noise that’s going around, the dancefloor will be burning too. A break down takes place of some tight key work, before the bass comes back and streams of ‘stars’ fall. Unreal. Continue reading →