Eagles & Butterflies – SKETCH 7
“I just love emotion in music, I don’t really care what genre or style it comes under, to be honest” Eagles & Butterflies stated in his interview with Pulse Radio. The lush, abstract production that evokes emotion has received endorsement from labels which share his philosophy such as Noir Music, Bedrock & Southern Fried. Incorporating elements of Electronica and IBM, his sound connects the “sense of hearing… to other senses“. His latest EP release ‘Imitations of Life‘ is a return to Innervisions this year after his track ‘X‘ previously featured on Secret Weapons Part 8. With the cover featuring a plastic bag set against the background of molten lava, the statement of this being something unprecedented is clear. The leading track ‘SKETCH 7’ exemplifies his refined layering of a “complex sound world” that is ravished with grandeur .
With an opening drum arrangement that features a live instrumentation snare, an organic sound akin to Will Saul’s ‘Drama‘, leans towards the hallmark of House. The rolling bassline melts into the preceding streams of delight created by aggrandising sforzando. Having previously remixed the renowned Italian composer Ludovico Einaudi’s ‘Elements’, Barratt’s enthusiasm for complex chord-progression goes unchallenged. In such, he joins his contemporaries such as Tale of Us, Henrik Schwarz and Max Loderbauer who have offered their interpretations of Classical music releases. Such free-spirited note alignment is heard in ‘SKETCH 7’, as well as his Get Physical 2015 release ‘Sounds of Colours‘. The imperceptible phasing of topline synth drifts from one ear to the other. This adds to the already established kaleidoscopic dazement. Similarly to Patrice Bäumel’s remix of Khen’s ‘Land Of Goshen’, the track allures the listener to lose themselves in the moment with its Balearic euphony .
Younger Rebinds – Tim’s Symphony
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.
Arian 911 – 7 Melodies
Tehran-born, Frankfurt-based DJ & producer Arian 911 supports a look that would qualify him for the role of Freddie Mercury’s right-hand man. Striking coal-black hair compliment a moustache from the 80s to complete a look that is effortlessly elegant. A fair definition of his music too. To understand the man behind the production, a work of investigation is required. Discogs claims Arian Beheshti was an Ibiza local all the way back in 1993, being a Cocoon Ibiza resident since its inception. This would explain ‘Dadap Dadap‘, his 2009 minimal release on Sven Väth’s label that will leave thirsting for water. Circa. 2013 you’ll find electro releases associated with his name. ‘7 Melodies’, the first of his two inclusions in the annual Innervisions’ Secret Weapons compilation in a row is yet another metamorphosis. A tender form of melodic techno, perhaps one Arian is most suited for.
‘7 Melodies’ states its ambition in the title of the track – to create a multilayered template of intersecting sound palettes. The challenge of such aspiration is the element of solidarity. Ensuring, that all of the sonically elements homogenize rather that compete for airtime. And, in this respect, Arian shows his maturity. The pads shine with phosphorescence like neon lights illuminating the dark. He creates a watercolour painting splashed in colour, a mesmerising experience of synesthesia. The official video is fittingly a mirage that is kaleidoscopic. Innervisions label itself has classified the track as a strain of Deep House, however, this would only be relevant if one is to take 2010s interpretation of the subgenre. More suitability, this is the sound of the self-effacing melodic strains of techno manufactured by such as Roman Flügel, Mano Le Tough & David August. Regardless, the end outcome is euphoric. Continue reading
Sascha Funke – Surumu
Back in 2001 Sascha Funke remixed the 1980s pop track Bros’ ‘When Will I Be Famous’. The electro take of the original can be interpreted as a modus vivendi for the Berliner’s own career. With a first release ‘Campus’ on the now revered, Cologned-based Kompakt Records, Funke has managed to stay rooted in the German scene ever since. His most highlighted track ‘Mango’, a 7 minutes journey fitting for a late-night drive, was featured in Paul Kalkbrenner’s 2009 movie ‘Berlin Calling’ & received a phenomenal remix from DJ Koze. ‘Surumu’, an indie-disco trinket premiered by Deep House Amsterdam, is a strong contender to eclipse the successes of its predecessors.
Carl A, Finlow – Anomaly
Originally released in 2002, ‘Anomoly’ is a low-slung Electro banger that you certainly wouldn’t play at a funeral. Yet is caries the dreariness of a ‘we’ve been partying for a week straight’ after-party scene in an arthouse film. Reissued in 2016 with a remastered version on Maceo Plex’s Lone Romantic, 2020 Vision co-founder Carl A. Finlow’s cut is Hoover Dam water tight on production with the engineering second to none (Okay, Efdemin and Blawan aren’t too bad either). Made at the time when Drexciya claimed their laurels, fellow Electro artists like DHS, Atom TM, B12 and Claro Intelecto certainly would’ve vibed to this.
‘Anomoly’ has a melancholic aura to it in the same vain as DJ Richards Grind LP. Electro can often be interlaced with neighbouring genres such as indie rock. In this instance, the rhythm of the kick is so similar you’d think you were about to listen to a new French-duo Justice track. Bulging lower note synths are panned across your ear cavern like a mist spreading across a barren lake. Moog like dubs thud away, before a brooding and bubbling electro bass enters the fray. Continue reading