Brooklyn old-timers Francis Harris and Anthony Collins were a prolific production partnership under the guise of Frank & Tony in the mid 2010s. Part-owners of the taste-making New York label Scissor & Thread, their output was a melange of mature, tender interpretation of Deep House. Harris brought the exhaling texturing that complimented Collins’ percussion finesse. Pitchfork adequately claims duo were more “concerned with the sound of House music than its function“. In such, their tracks serve well for listening sessions and in-store DJ sets. Their 2012 track ‘Marigold’ found the perfect vocalist suitors in Bob Moses, a Vancouver duo that was christened by them. The NY veterans gave the Canadians their name, and their support on ‘Marigold’ kindly returned the favour.
Frank & Tony’s production notably interpreted the lower ends of EQ in a number of creative ways . While releases such as ‘What You Believe‘ & ‘Amedeo‘ brought a much more restrained approach, ‘Modest Season‘ & ‘Harmonium‘ came freshly baked from the academy of Basic Channel. In ‘Marigold’ they opted for a chugging bassline that is rich in flavour to open the track. True to form, however, soft keys reverberate in rotation to create a serene ambience. ‘All the way, all the way, all the way, watching this burn” the vocals repeat. Bob Moses’ mellifluous singing has made them a headlining act in the Underground scene, and a desired collaborator. Frank & Tony were blessed with an album’s worth of features back in early 2010s. The pads that eventually enter feel like a substitute for the Pacific wind, gently caressing the listeners ears. The vibe almost be described as a slower tempo, Western approach to Nu & Jo Ke’s – ‘Who Loves The Sun‘. It would comes as no surprise, therefore, to hear it feature at a sunset mix of Jose Padilla. Continue reading →
Schneider & Galluzzi feat. Florian Schirmacher – Too Late To Land
In Maceo Plex’s recent Time Warp mix, the American DJ played a track dedicated to the festival’s 25 Year Birthday. He’s certainly not the first to have dedicated a track for such special occasion. Think Da Hool’s ‘Meet You at the Love Parade‘ or Mike Huckaby’s ‘The Tresor Track‘. Heck, type in Berghain into any streaming platform and you’ll come across hundreds of tracks titled after the notorious club. Already having the maestro Moritz Von Oswald dedicate the track of the year to their label, Cocoon really outdid themselves by dedicating a whole LP to the concept, Cocoon Morphs Tokyo. Hosting three parties at Japanese venue Womb, it featured exclusive bangers by Ricardo Villalobos, Tiefscharz and Guy Gerber. The highlight of these cuts, is Galluzzi and Schneider’s weapon of mass Minimal Techno destruction, ‘Too Late To Land’. Hearing the two collaborate for Minimal heads equals the creation of a DC vs Marvel movie for comic book fans.
The LP is also a celebration of the world-renowned German photographer and artist Andreas Gursky and Sven Väth. Andreas has been responsible for the design of Cocoon Club in Frankfurt, as well a many of the set designs featured at the Cocoon Parties. The cover art features a shot of the crowd below a poker-dots laced silver sheened curtain that draps over the dancefloor. The aesthetic is sonically replicated in the track. It starts with an ascending filtered chopper noise that harmonises with the modulation. Clever. Any producer wanting to learn more about the art of subtle glockenspiel percussion needs to rampantly study this track. The two so effortlessly displayed here click perfectly to give it soul. The muddied bass line bobs up and down in toe. Capping the track off though is the metallic, wonky, robotic synth stabs that darkens the tone. Similar to Schneider’s collaboration with Jay Haze ‘Acai‘, these are dialled up fifty notches to give the listener a jolting experience. Coupled with the drawled vocal saying ‘It’s too late to land‘ it leaves you in agreeance that you’ve gone way too far to stop the trip into outer space. Continue reading →
The Guardian ran an article in 2011 titled ‘How dance label Crosstown Rebels bounced back‘. Didn’t realise it had fallen off. A label that has ebbed and flowed with the times, there’s no denying it has also been a trendsetter, launching the careers of Jamie Jones, Seth Troxler and Art Department. Head Honcho Damian Lazarus has been on a run of sorts recently, with the punishing releases coming from the Arthur Baker & Rockers Revenge, as well as the atmospheric Aether. The same newspaper recently featured the leading contender for ‘world’s greatest party‘, Get Lost based in Miami. With Audiojack’s ‘Inside My Head’ we could have one of the track of the year’s on our hands. Releasing EPs on 20/20 Vision, Tsuba and Hot Creations, the duo’s style is uncompromising in it’s lean rawness. So it comes as no surprise that their latest Tech-House release reached number one on the Beatport Charts. The Ibiza-based, Leeds-raised duo bring their best in what you can only describe as euphoric.
Listening to the Audiojack’s 2016 release ‘Vibrate‘ proves that the lads are exemplar at providing heavily echoed vocals. The track opens up with a female vocal that’s sampled from Cuba Gooding’s disco-funk classic ‘Happiness Is Just Around The Bend‘. Echoing ‘There’s something going round inside my head‘ the vocals are spacey and add to the kindred nature of the track. ‘We knew the vocal back from an old progressive track in the 90s, but why it suddenly kept looping round Jamie’s head we don’t know” explain Audiojack to Magnetic Mag. ‘Now it’s your turn to endure the loopy repetitive vocal of this low swung proggy groover‘. The Wurlitzer keys bring this spellbinding wall of synth that brings a trancey atmosphere. It’s akin to ‘that‘ track from Solomun’s Cercle set. The boys truly love their production. Speaking with 6AM Group about their infatuation for Native Instruments, they state ‘Max4cats recently brought out a semi modular plugin called Pallas which is so much fun routing one thing into another and modulating stuff in strange ways to get some really out there sounds‘. These quaint sounds can be traced in the track, combining manipulation of guitar strings, western Asian percussion and screeches of a jet engine. Unadorned yet devastating. Continue reading →
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 →
Before he became a DC10 mainstay, I saw Skream dosing out absolute piledrivers at Cable years ago, the Dubstep clubbing institution that was under the train archways near London Bridge. Carrying the virtuoso of genre-pioneers such as Benga and Kowton, it was in-your-face brash stuff. Looking at the scene’s most celebrated tracks however, such as Kode9’s ‘Samurai‘, The Bug’s ‘Skeng‘ and Joy Orbison’s ‘Hyph Mngo‘, the genre’s more mellow tracks can be just as commanding. Dutchman Dave Huismans, is the man behind the Dogdaze moniker, as well as the more 4/4 A Made Up Sound alias. Releasing on revered labels such as Tectonic and Delsin, as well as Red Bull Music Academy dubbing him as ‘inimitable’ is certainly an apt branding. Under his 2562 moniker however, you will find an artisan off-beat shake downs. ‘Embrace’ is one such track that stays true to its title, embracing a more finespun approach.
Dropped on fellow compatriot Martyn’s 3024 in 2009, it snuggly feels at home amongst other abstract-leaning musicians such as Leon Vynehall and Trevino. When chatting with Little White Earbuds about his favourite music to play when he feels down, he responded with Detroit’s Deep House legend Rick Wade. ‘Embrace’ certainly echoes such moody, powerful Deep House tropes. Beginning with a minor key, chords are stabbed hurriedly and delivers sentient vibrations. Dubstep is known by its half-time drum patterns, offering clashing BPMs between separated elements, creating a measure of space between the different layers of the track. The drums are raw and hollow, ascending and descending to variant notes on each half-beat. They share the vim of the bulwarking dub bass which drags itself into place like a stone into a quarry. Lastly, dusky pads serenely shimmer over the top adding to the meditative spirit that the chords bring. Continue reading →
Though it might be known as the home state of Rodeos, Ford F150s and the Republican party, Texas has also birthed a number of accomplished producers. Unrelated to the Canadian techno–maverick Mathew Jonson, Brett Jonson is part of a cabal of DJs hailing from the Southern state that includes Maceo Plex and Convextion. Speaking candidly with XLR8R about the state of the underground scene, Jonson observes that ‘We live in strange times, where people are famous for being famous, and a person’s hype often outweighs their actual talent‘. Commenting on dilating issues such as ghost production and pay-for plays gigs, he’s a music man. There’s clearly a special vitality in Brett’s productions. With a prolific amount of releases on labels such as Freerange, Cynosure and F Communications, Brett’s productions are a combination of moreish, euphoric and funky. And none more so than his 2009 release on the EP of the same name, ‘Missing You’.
Tracks like his remix of My Favourite Robot’s ‘Still In My Heart‘, or his own release ‘Get It Together (5am Dub)‘ showcase unbridled skills at walloping Tech-House bass. Brett’s versatility is on full blast in ‘Missing You’. Eight Tracks describe the track as ‘a gloriously melancholy cut that successfully bridges Brett’s affinity for potent house rhythms, Detroit-bred bass lines, and decidedly deeper intentions‘. It starts off with a timid kick and cymbal partnership that synergises with a crunchy percussion sample. Similarly to Andre Lodemann’s ‘Where Are You Now‘, measured bells are chimed. Sequenced stringed pads add to the melancholic nature with the plodding bassline allowing the rest of the track elements to shine. Brett speaks about being influenced by R&B in an interview with the Dallas Observer. Here, a vocal sample akin to 112 can be heard as the bass jumps an octave. What follow is truly mesmeric, as the strings caramelise, drooping with subtlety. Like his Visionquest EP ‘The Secret Place‘, ‘Missing You’ is elegantly eerie. Continue reading →
If you’re a Techno pilgrim walking down the annual path of brain-warpdom to each major festival, up near the peak of the list will be the Dutch Awakenings Festival. Based in a club that hosts parties, the event is located in Eindhoven, usually at the gloriously imposing and mammoth venue of Gashouder. If you come across tINI & The Gang videos that have featured Daniela La Luz, Bill Patrick or any others of the crew, where tINI made her name, you’ll discover a completely different setting. In this set, however, she delivers an enchanting warm-up set which is more gloopy lava than a forceful flamethrower.
In her recent interview with RA Exchange, the Munich-born DJ states ‘I don’t do sub genre’s, just House and Techno‘. Clinging to the fundamentals, her style transcends all labels and is sedative, if not immersive, at times. Weaving through the dub techno leanings of Moreon and Baffa’s ‘Cloud 15th‘, Terekke’s ‘Bank 3‘ brings a lo-fi filtered Deep House to bring comfort to the ears. An ID-less track on 26 mins brings a East End Dubs like buoyancy that operates with a sensuality due to it’s nonchalant vocal sample. Looking by the amount of ‘Track ID’ comments on Soundcloud, it’s a track which some may sell a liver for. Going a bit left-field on the 40 minute mark is the classic Underground Resistance mix of Maurizio’s ‘Ploy‘. The second half of the mix get’s a bit more jacking and viscous on the drums with bangers by EMG, Mr Tophat & Art Alfie and Paul Jackson. Scattering flakes of trippyness on top, tINI finishes with Josh Wink’s classic ‘Don’t Laugh‘, a track that ironically features a vocal of a guy laughing his head off. Continue reading →
Mike Grant – My Soul, My Spirit (Mr G’s Freedom Train Mix)
Born in Derby but now local to London, Mr. G is a true legend of the game. With releases on Rekids, Defected, Bass Culture, Holic Traxx, as well as his own label Phoenix G, the number of his releases is astronomical. None of these come at the cost of quality however. Cassy best sums up his production style in her description of his remix of Fred P‘s ‘Mystery of Fantasy’. ‘He’s in between house and techno, so for me, whichever direction I want to go in, he gets me there. Often if I’m unsure what to play next, it’s the ever-reliable Mr. G I turn to‘ she told fabric. His productions are the archetype for those which straddle House and Techno, much like Radio Slave & Joris Voorn. In their Machine Love feature Resident Advisor crowned him as ‘the literal definition of tech-house‘. His sound is as tough & punchy as MMA fighter Anderson “The Spider” Silva on the world’s most potent steroids. G’s output is consistently heavy on the drums to keep the jack moving like a marching band. At times, upon first listen of some of his tracks you would be forgiven for thinking you were listening to any Detroit producer of the Rick Wade and Delano Smith cloth. This remix of ‘My Soul, My Spirit’ is yet another capstone of his treasured discography.
Released in 2003 on Grant’s own Mood & Grooves label, it was G’s second remix of the very same track. ‘The Struggle of My People (Mr. G’s There’s Hope Mix)‘ was an inspirational call echoing the pulpits sourced from the DJ booth. A preaching from the biblical text James 1 so to speak. ‘My Soul, My Spirit’ is an effigy on freedom. Sublime swelling horns radiate providing an instant buoyant air. Coming from a West Indian background, G has a love for heavy sound-systems. This can be heard on the tough as a nail sub-bass. A dedicated fan of Akai MPC’s and Korg MS2000’s, the hats are capacious and built for Big Room play. Speaking with Ibiza Voice about his time spent working in the Derby record shop R.E.Records, he recalls opening up to music styles that included jazz, blues, boogies, soul, funk and disco. Saturated in funk, the bassline is one that The Sylvesters or Boney M would be proud of. A stringed pad that floats on top adds rays of sunlight. The breakdown features a whispering female vocalist preaching about liberty that compliments a dolloping of arpped keys, before shuttling back into the kick and bassline. A truly uplifting track. Continue reading →
With Ibiza Summer season opening almost here, Tech-House crews such as Abode are packing their bags and finalising their tracklists. Jack Carter’s freshly-baked ‘X Marks The Spot’ is a last minute addition that should undoubtedly make the final cut. Having come off a few recent releases with THUNDR and Milky Records, his latest endeavour has been endorsed by Do What We Want Records. Bringing an intensity that would compliment a Michael Bibi & Hot Since 82 Studio 338 set, ‘X Marks The Spot’ is a certified peak-hour crowd pleaser.
Carter got involved in producing and writing music soon after leaving formal education. Initially venturing into a range of genres, he found his feet with Tech-House, being inspired by the underground scene of London, a leading exporter of the genre. The idea for the ‘X Marks The Spot’ came from Project X, arguably the poster ‘house party’ film. Carter and his pals had made it a habit to to shout the phrase ‘To the break of dawn yo’ from the film when at the club, so it comes as no surprise the sample eventually became part of a studio session. The track certainly lives up to the spirit of the 2012 flick, with the rolling bassline flowing in to kick off the festivities. The vocal sample melts into the bull-necked sub-bass that hovers in the lower EQs. With a breakdown that ferments a brooding percussion build up, the listener is rewarded with a hulking drop that sends the club into turmoil.
Jon Hopkins’ ‘Singularity‘ album featured sounds as dense as Beijing’s pollution during peak-hour traffic. Leading from the front, the title track ‘Singularity‘ announces itself more grandly than the UEFA Champions League final. Exploding into the oblivion and giving semblance to its title, the track leaves the listener begging for more. Step forth Brazilian-born artist ANNA. Though the DJ Awards carry less weight than a Trump speech on Russian collusion, her 2016 Breakthrough Artist of the Year award was fully deserved. It was almost impossible to have avoided hearing her Kompakt backed track ‘Hidden Beauties‘ feature in any of the headlining Techno sets of that year. With fine releases supported by labels such as Terminal M, Tronic and Toolroom being delivered since 2012, it was only a matter of time before ANNA reached peakdom. Some can let the pressure of a massive hit get to them – not for ANNA it seems. Continuing her hot streak form, her ‘Singularity’ remix keeps her unequivocally in the limelight.
According to Resident Advisor, the original track utilised field recordings of thunder. ‘The track is supposed to have a dangerous, foreboding sound to it‘ explained Hopkins in his ‘Machine Love’ feature. It’s a thing of uncanny beauty in the way the elements drone. On her remix, ANNA decides to paint a picture of the entire world encountering an apocalyptic thunderstorm at once. The track starts with the use of the original’s swelling drones. While Hopkin’s version unravels in swelling, the bass of the remix drops harder that Thor’s hammer in Ragnarok. It’s a ditto of the ‘Hidden Beauties’ bassline, played in a clockwork rhythm. In conversation with Ask Audio, ANNA recalls that her take was made using the Furthrrrr Generator module. Describing it as mightily powerful is an understatement of titanic proportions. Dropping in a hulking kick and swelling cymbals, the original’s classical organ line simmers over the top. It is a brooding end of the world sound native to a movie such as The Day Earth Stood Still. Stabs of the modulated bassline kick in louder and louder before being held in distortion. It’s heinous, akin to Leatherface obliterating your face with a shotgun. The breakdown retains the instrumentation of the original waiting for the kick to usher back in the remaining elements of the track. This leaves the listener picking up the pieces back together. The end result? Dancefloor destroyed. Continue reading →