Tale of Us – Alla Sera (Kettenkarussell Triangle Player Remix)
When Tale Of Us dropped their debut 2017 LP, Endless, it wasn’t what the public had come to expect. Resident Advisor claimed it contained ‘meandering music that tries desperately to tug at your heartstrings, but never quite gets a good enough grip’. Released on Deutsche Grammophon, a classical label starting in 1898 that has also released Moritz Von Oswald and Carl Craig’s classical reshapes of their electronic tracks, Tale of Us’ was a first fully original electronic release. Whatever your thoughts on it was, you can’t fault the effort of the duo trying something more beatless. Dropping on the remix LP, featuring remixes Rødhåd, Scuba, Sebastian Mullart plus other Afterlife label mates, Kettenkarussell x Tale of Us was a match made in heaven. Their brand of quaint, mystical house you can normally find in Giegling‘s roster that has included Edward, Dwig & Traumprinz, leaks its way on ‘Alla Sera’ to provide a sanctum for deep contemplation.
We first heard Kettenkarussell, a duo consisting of Herr Koreander & Leafar Legov, in 2010 on a Little White Earbuds podcast. They describe their music being ‘so easy to develop tunnelvision listening to their calming, organic style of hypnotism — maybe a bit like ‘witnessing the scenery shifts on a lengthy train journey atop that constant click-clack’. This hypnotism is found from the off, with the moody classical piano line, enveloping the ears with gravitas. It adds a nonchalant aura than to the originals as-hoc sullen, morose nature. Soundscapes pan across the track, with a nimble version of the IDM style bass found on Plastikman’s Closer LP. Hats latter across the top, quiet enough to give the other bleeps, thunder strikes and tiger screeches time to add to the abstract nature. The brooding pulsations before the breakdown truly makes this a homelisteners delight. Letting the piano do the talking again, in a minor harmonic. The track then takes a deep dive into the abyss of the mind, as the swirling, ghostly pads create a parabola around this magical world. Continue reading →
Lobster Theremin associate Gergely Szilveszter Horváth, better known as Route 8, has been unearthing various strands of deep house ever since his Mental Murder EP came out in 2013. His intoxicating lo-fi release ‘I Can’t’ helped the subgenre gain momentum in its emergence & the eventual schism that formed its own separate identity. Yet, the Hungarian producer’s releases such as ‘Floating Dub‘ and the Traumprinz-inspired ‘The Sunrise In Her Eyes‘ show that he’s got a particular knack for downtempo tracks. ‘Dry Thoughts’ is a 2014 release from Asquith‘s label, embodying the Budapest DJ’s proficiency for nonchalant production which does not sacrifice its rhythm.
Upon first pressing play the listener is treated to a swift harmonious sample that sounds like it was taken from a 1930s Hollywood’s golden age classic. This precedes a low-cut filter drum loop that is combined with a modest white noise extract to create a crispy feel. The track title does contain the word ‘Dry’ after all. Such compression hands the spotlight to the bass that enters the picture to fill the frequencies with its delicate looping. In his interview with XLR8R Horváth claims that coming across L.I.E.S Steve Summers’ Beats In Space session inspired him to experiment in underground sounds. Summers’ adroitness to elevate a picked element to become the axis of the track is a craft Route 8 has evidently been influenced by. Continue reading →
Bristol is a hub of musical innovation. The place that helped birth, Jungle, Dubstep & UK Bass and is madly in love with Breaks. There have been producers who like to mix with the Spiritual like Fred P. Space, like Jeff Mills. DJ Richard on harsh aesthetics in the surrounding New York State where he grew up. Efdemin on anything that goes in front of his eyes and ears. A Sagittariun’s fixation however is on, (as you can tell by the name) Astrology, and Dreams. An A2 on the 2012 Carina EP, October deliver’s a ‘Full Body’ mix to take Carina (Original Dream) to a more intense focused Dream. If the original is the Wispy Cloud like Milky Way, this is the bottom of the grand canyon.
Like fellow Bristolians Asusu and Ramadanman, October uses knock like percussions on each beat. It has that 2 Step feel often heard from UK Dubstep. Shakers keep the worldly music scene of the Original. Celestial synths rail across from left to right like those found in a Conforce track. A dubby, muddied bass heaves like a monster of lore awakened from it’s slumber. It rattles like it’s in a procession, a ritual around the fire. The Originals Synth lines are flipped, played in the minor painting set set hues similar to Robag Wruhme’s remix of Red Sky by Audision. The metallic sounds of Levon Vincent’s Games We Play is what October loves to play with. Played in wonky patterns, they do a dance of decadence. The whole thing is a triumph in heads down ‘we here to dance’ like tune. Continue reading →
When asked by The Ransom Note, Brooklyn producer Will DiMaggio responded ‘I’ll puree soups or sauces in it — works great. I’ve mixed dough in one of those joints, you can do whatever with them.’ As outlandish it may seem to mix dough it comes as no surprise. His audacity to mix elements of Jazz, Boogie, Soul, Hip Hop and Deep house could’ve gone wrong. In this case it’s earned him dividends. His first breakout ‘Fusion( Broadcast Mix)’ is a deep dive into the mind of a man who loves to jam. A 2016 release on Future Times, it’s also a breakaway from his volatile Bass cuts as JAW JAM. Like these Pharrell or NEXT bootlegs, R&B takes the centre stage as it blossoms into a classy appetiser.
Built around a 112’s ‘Anywhere‘ sample, it’s a delightful boogie down track as the vocal repeats ‘Until Your Body Fails’. It’s poignant, stirring about real laid back vibes. The drums, sounding completely live, underscore the desire to have this as a free-jazz session. It’s still a jam that can be used on the dancefloor regardless of its rogue nature. Some insane keyboard work is on display using what it seems the most Casio-like synthesiser in existence. It all feels very late 80s, which would make sense as he lives with fellow House music oddball producers hailing from the States such as Anthony Naples. The spurts and random jazz throes that have that futuristic tinge are complemented beautifully with the live bass tones. Ambient synth chords as well as descending horns help with the sunny aura. It’s like Koop & The Gang wanted to make their infamous jam a bit jacked. Continue reading →
Released on Damon Albarn’s Honest Jon’s Records, this Moritz Von Oswald remix is proof that the Gorillaz frontman has a delicate taste in electronic music. With the original version coming from an album titled ‘Lagos Shake’, the Nigerian influence is strong with this one. Oswald is a German multi-instrumentalist whose extensive releases like ‘Watamu Beach Rework‘ demonstrate production influenced by 1970sbands responsible for the Kosmische movement like Tangerine Dream and Can. His collaboration with Mark Ernestus as Basic Channel introduced the world to some of the most pioneering minimal and dub tech releases. Their subsequent label Rhythm & Sound output drew influence from the dub reggae scene. Here Oswald takes his production mastery to transform Tony Allen’s original into a dub techno ambrosia.
The track begins with a set of djembe drums played with great adroitest of Yinka Ogunye. A lingering analogue synth reminiscent of a Ibiza Chillout compilation simmers with intent to collaborate. The symbiotic relationship between natural and technological instrumentation is captivating. Rather than contrasting, they manoeuvre in communion that is refreshing. Then, ninety seconds in, the the prime mover of the track announces its entrance with the charisma of Alexander the Great. A husky kick supplements a sangfroid bassline that is cadenced yet serene. An African vocalist chants ecclesiastic chants with sombre conviction. Though the words may sound alien, the spirit with which they are sung is universal. Continue reading →
The artwork for the End Of Perception – ЛаBа EP features lava spill effluxing over frayed rocks. It takes crystals, volcanic glass & gases to form such molten rock. In similar vein, Raffaele Mezzanotte, known as Münch, amalgamates noise, atmospheric and ambient sounds to fossilise his creation. His contribution to the second compilation of the newly-formed Berlin label demonstrates the collectives potential to appeal to Giegling followers. Placed in-between Primal Code’s traumprianzian ‘Alhambra’ & Deepbass’ mesmeric ‘Separation Of The Present Moment’, ‘Note’ is a window to an alternative dimension of self-reflection.
The ambient pads used are reminiscent of Prince of Denmark’s ‘Darkspirit Cut‘, with its nihilistic acquiesce evoking somberness. Though it must be said that the Münch track carries a little more avidity. In the lineage of iconic atmospheric dub techno tracks, the runtime for ‘Note’ is extensive. This allows time for introversion that can provide therapy. Naturally for the subgenre, numb kicks amble along with humble conviction. Craven hi-hats hop on the this train of thought like a freighthopping rider wishing to go unnoticed. The midsection of the track introduces white noise that reminds one of a seashell resonance. This concept of the ocean colliding with magma can be taken to be a metaphor of the listeners worries soothed by the soundscapes of the track. Continue reading →
The heady strains of deep house really can be used as a form of escapism. Cuts released by Lee Burridge and Matthew Dekay’s ‘All Day I Dream‘ make the mind wander, designed for sitting in the park, surrounding your thoughts and ambience with impeccable wistful synths and emotive rhythms. ‘The Way Out’, a 2009 track by German Producer Pawas was release on a fittingly titled EP ‘Music for Lazy People’. A track that focuses the mind not to worry on what’s ahead, but enjoy the journey here and now.
Relaxed and graceful, the filtered and echoed chords really are as serene as possible painting a picture that the listener is located at 9pm at on a secluded Thai beach with the stars shining bright. This is enforced with the crickets humming away, and what sounds like field recordings of a crashing wave. Continue reading →