John Shananigans – Charlie’s On The Dancefloor
“The mysterious Hugh Betcha who features on Pan-Pot‘s newest single most likely takes his name from Canada’s sketch comedy masterpiece SCTV” writes RA reviewer Todd. L. Burn. ‘Hugh Betcha’s Night Gallery’, [an episode from the show], is an apt name for the type of atmosphere that ‘Charly’ creates over its nine minutes’. ‘Charly‘, was the now Techno-Don Pan-Pot’s first mega-hit. Released in 2007 on Anja Schneider‘s Mobilee it encapsulated the underground scene in it’s inveterate and spiralling style. Who is Hugh Batcha you may ask? None other than Mike Shannon. The Montrealer has been one of the most prolific producers and even pioneers. His name stands strong alongside the likes of Luciano, Akufen, Steve Bug & Jay Haze of the super early breedle Minimal sound synonymous with the mid 2000s underground scene. As well as releasing on his own label ‘Cynosure‘, Shannon’s prowess has linked him up with fellow Canadian labels Plus 8 Records, Wagon Repair and Dumb Unit, alongside international labels such as Half Baked and Meander. His collaboration with the Berlinian duo, however, isn’t his first love letter to ‘Charlie’, with ‘Charlie’s On The Dancefloor’ being a powerful display on what made the Minimal style explode.
Released in 2003 under his John Shenanigans alias, the track embodies a cardinal sense of funk that accents no matter the rations of analogue and digital within his production. Like in the Pan-Pot version, his vocals on ‘COTD’ is cheekily cocksure, making it’s presence known brashly. The vocals utter the words of the title slimily in repetition. As it’s spoken over a simple 4/4 kickdrum, an organic distorted piano bassline ricochets over four notes. It’s an incubating sound, evoking the feeling of finding oneself in front of a cackling fire in a decadent castle dining hall. Speaking with Deep Transitions he name-checks Soft Cell and Thomas Dolby as early inspirations. Certainly such eccentricity found in these artists can be relayed in this track. The Jazziness of the bass can be effortlessly overlaid on a Theo Parrish or Moodymann cut. Whirrs and springs murmur in the background. As a double-time snapping kicks in, the bass then adds a top layer as it ascends into the higher octave. The breakdown provides a section where the sub-bass hits on and off the beat, introducing an element of unpredictability. During the final half of the track, Shannon filters the kicks and a delay is added. Alongside the potent vocal, it is a peach of a finish. Continue reading