Trying to describe the Idjut Boys production style is something of an impossibility. Much like trying to convert the Pope into a cultish apocalyptic Alien sect, it ain’t going to happen. However, from listening to tracks such as the tech-housey ‘Phantom Slasher‘, mush-mashed ‘One For Kenny‘ and the Smalltown Supertown released indie trip ‘Ambient Rab‘, ‘psychedelic‘ is something that aptly suits. Hailing from North London the duo, made up of Dan Tyler & Conrad McConnell, make music for the purists. All the while, keeping it raw and passionate without losing any soul. This is most exemplified in the 1999 cut on Atmosfear’s Altered State LP ‘Deep Bass Nine’.
A play on Star Trek’s Deep Space Nine, the track is a delight for a fan of funk and disco. Drop this in your set and you know the club will be set ablaze. The edit of El-Coco’s ‘Cocomotion‘ is another such track of theirs which is primed for the dancefloor to be lit on fire. After much searching, the original couldn’t be found. We’re sure that the Idjut Boys put it in safe hands however. Starting off with a whirlwind of percussion, bongos, delayed drums and whirring noises, it’s certainly intergalactic at heart. Once the guitar strings come in, the brew of elements give the feeling that you’re on a beach floating through space. Flute-like sounds contrast with the funk basslines as echoing guitar strums provide real rhythm. Over the course of the remaining two-thirds of the track, each key element is given time for a solo. It’s a right trip that only the Idjut Boys could pull off as a masterclass. Continue reading →
2011 was a formidable year for the Tech-House scene, as producers rode the crest of the 2010 wave well into the following year. Tale of Us released a mammoth remix of WhoMadeWho’s ‘Every Minute Alone‘. Solomun’s Vox Mix of Noir & Haze ‘Around’ catapulted him into the spotlight. Slightly under the radar, Get Physical released DJ T’s ‘Pleasure Principle’ remix compilation featuring interpretations from David August, Jimmy Edgar & Subb-an. One of the labels that was on everyones’ lips, however, was Hot Creations. Founded by a Welsh-Chicagoan partnership of Jamie Jones and Lee Foss, the label introduced us to heaters such as Danny Daze‘s ‘Your Everything‘, Miguel Campbell’s ‘Something Special‘ and the chart-topping Hot Natured’s ‘Benediction‘, all released within the same year. While Jones’ can be seen as more of a patron of the label, Foss’ late 2000s and early 2010s releases laid noteworthy support to the crew’s rise to success. Tracks like ‘Keep My Cool‘ & ‘U Got Me‘ are fine examples of the finesse traced in his early releases. Coming from his Starfruit EP, ‘Someone New’ is a time capsule of era when Foss was at the peak of his production game.
Deep, elegant & sensual are just some of the words that can be used to describe Foss’ signature style. His earlier discography tended to have an unadulterated approach to using lightly-processed analogue synth lines. Such is heard in ‘Someone Knew’, as 1980s Miami inspired soundscapes mollify into the intro that cuts the lower EQs. In conversation with the Night Bazaar, Foss tributes Funk groups such as Paul Simpson Connection to having a major influence on him. Noticeably, his new label Repopulate Mars‘ pushes track like ‘Freak You Right‘, which are more fubsy in percussion sidechaining. This is somewhat a departure from his earlier sound that’s epitomised in this track. The bassline serves as an ancillary, melting into the groove created by a fairly emollient layering of the drums. The overall sound tenderly seduces the listener, rather than overbearing with an in-your-face approach. Fundamental to most renowned releases, is the polished use of the vocals. Here he reworks an extract from Usher’s 1994 track ‘Think of You‘. ‘All the time I think of you, Holding on to someone new‘ brings a set of rather guarded lyrics. Yet the groove created by the remaining elements of the track pacifies the listener into a dance that’s filled with reflection. 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 →
‘To influence a person is to give him one’s own soul’ proclaimed Oscar Wilde in his bookThe Picture of Dorian Gray and Other Stories. That can certainly be said of the indomitable Perlon Records. With a propensity to release experimental and obscure cuts, it’s possibly the most influential Minimal label of them all. Releases such as The Mole’s ‘Lockdown Party (DJ Sprinkles’ Crossfaderama)‘, Minimal Man’s ‘The Chicken Store‘, and Binh’s ‘Noah’s Day‘ are just drops in the ocean of the many far-fetched bombs released. A lot of their cuts like Margaret Dygas’ ‘Even 11‘ are purely for after-hours or headphone listening only. Many of these have been release on their Superlongevity series. Seeing label stalwart Sammy Dee drop cuts by Egoexpress and Guillaume & The Coutu Dumonts at The Egg last summer was a reminder why their acclaimed Get Perlonized parties receive such high fanfare. Their more conventional 4/4 releases certainly get equally as much praise. Israeli by birth, a Berliner via New York and Amsterdam, Maayan Nidam is a producer synonymous with trippy drugged out releases. Having previously released albums on Candeza, and Powershovel Audio, her most recent third LP ‘Sea of Thee‘ landed on Perlon. ‘Don’t Know Why’ was her first of four releases on Perlon. A groggy affair, it is quintessential for DJs looking to calm things down on the dance floor whilst keeping a stomp.
The track chugs at a 120 BPM, much like how Clive Henry plays his sets. Woody drums tap away giving a makeshift off the cuff jamming production. Feel-good tambourine claps jingle with brightness. It displays power in its raw simplicity, much like Motown tracks like Marvin Gaye’s ‘How Sweet It Is‘ or Bill Wither’s ‘Kissing My Love‘. Alongside this is the powerfully floppy electro-tinged bass. It’ll ensure not one body stands stiff in the building. Basslines like this make tracks skittish. Audion’s fine catalogue as well as Tommy Vicari Jnr’s phenomenal ‘Moy Lally In D‘ bring a similar rubbery dance. Due to the slower BPM, the cut makes it the nifty DJ tool to transition out of an Electro or Nu Disco cut. The longer the track goes, the louder the womps get. It’s a jolting experience. Rickety pianos tinkle in, bringing a countenance to the shindiggery. Being an odd incision, it’s one normally heard in the overcast weather soaked music of Christopher Rau, Moon or Benjamin Brunn. This works, however, and you can see a Ricardo Villalobos’ type figure playing along whilst on the dancefloor. Or in this case, singing along to the drawling ‘Don’t Know Why’ Vocals. An intoxicating affair.
Maayan’s Boiler Room sets are well stocked in similarly funkadelic tracks. Unfortunately the cameraman doesn’t give the crowd much attention, because they’d surely be locked in Alice’s Wonderland. Nidam has stated that her music is inspired by the phenomenon of dreams. Whatever dream breathed life into this track was certainly one of untroubled spirit.
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 →
Soul Clap, consisting of Lonely C & Bamboozle, is a DJ & producer partnership hailing from the States. They boast what must be one of the most eccentric artist bios out there, making references to Sun Ra and Motherships (check it out for real). The discography of the boys from Massachusetts is also smoother than the bottom of James Brown’s shoes. With production that draws inspiration from disco, funk & hip hop, their production is the backlight to sceneries filled with neon lights and palm trees. Their Crew Love Records label is an outlet of releases that all share the attitude of good vibrations. The duo have been recognised for their bootlegs of RnB classics since mid 2000s, so this track coming from their 2016 EP is an observance of a tradition that has characterised their career.
Part of the ‘R&B Edits Vol. 3’, the collaboration with New-York-native and label-mate Ahmed, the remix adds a groove to Sade’s original. Keeping the toms together with the softer undertones of the saxophone from the 1988 release retains its core. Key component to the track is the vocal sample, which needs to handled with care. Here the edit adds some healthy reverb and tints off echo to bounce off the rhythm. Guitar bass carries a hint of ruggedness that is reminiscent of Fat Larry’s Band output back in the 1980s. Unruffled pads preserve the track’s slick ride while the sustained synths that enter the picture in the latter half complete this journey abundant in funk. Continue reading →
Coloursound – Fly With Me (Original Mix) [DISCO FUNK]
Picked up the vinyl for this little gem yesterday at Sister Ray‘s. Its since been on the loop all this morning. Suave dance-floor filler that carries the spirit of the infectious 1990s French house production. With inviting lyrics such as ‘Fly with me, to the sun, good vibrations everyone‘ the track echoes the positive vocal vibes of the 90’s decade musical output. Its romping nature meant it received enormous play-time in Ibiza, Miami and New Zealand just to name a few. Central to the track is its lush guitar loop, that powers throughout the song. There’s been clear influence from this track on Purple Disco Machine‘s current releases. This is one of those kooky tracks that show its best manifestation when play under the sun. So if you’re looking to pick up the tempo on one of the upcoming BBQs, then this banger might be the one to do it.
Originally released in 2002 by the indie label City Rockers under Damian Lazarus‘ A&R influence. The Crosstown Rebels boss once again proves his ability to discover a mammoth track. If you liking the vibes of the song then you can find a selection of official remixes that offer a variety of takes on the original. Nicole Moudaber offers a mesmerisingly psychedelic, Butch-influenced take on Fly With Me. Ramon Tapia takes it back to old school with his ‘Back To The 90s Piano’ version. What is clear is that the energetic vocals remain at the centre of each remix. If the original is pop up in a DJ set this upcoming summer, then its most likeliest to come from soul-funk influenced Claptone or a J.E.S.u.S reunion. Or the peak hour spin from a Todd Terje Bolivia set.
No one really does disco with such elegancy as Change. And it is clear when you listen to this 1984 hit ‘Change of Heart’. A real jam with a hook delivered by Deborah Cooper that keeps you enraptured, and a synthesiser-heavy funk that is followed by a slamming bass. ‘Change of Heart’ is definitive proof that you don’t need a high BPM to keep the people dancing. Read some YouTube comments and you’ll find that people feel nostalgic when hearing this track, recalling the good memories they made back in the day. With the recent renaissance of disco, most clearly demonstrated by the popularity of Dekmantel Festivals, I would love to hear this dropped by a DJ in a set.
All it takes is a single listen and you’ll be singing along to the chorus of this swish banger. An anthem of independence carrying lyrics such as “I have opened up my eyes , now I can see clearly, It’s time to go , I’d rather be alone without the heartache.” seem to go in direct contrast with the uptempo beat crafted by Jimmy Jam & Terry Lewis, who later went on to reach multi-platinum-status producing for Janet Jackson. However, hook up your stereo and let this track teleport you back to the end of the line of a glam 1980s Miami club, surrounded by good vibes & neon lights.
if you like what you’re hearing, check out the whole album here.
Growing up in a scene that saw the spirit of the 90s French-house glory days slowly fade away, young Charlie Naffah first-hand witnessed the draught that electronic music was going through in his native city. This was most reflective in the diminishing number of record stores available for the music connoisseurs. Closings of well-loved vinyl shops was not a rare occurrence. Perhaps it’s therefore unsurprising that young Naffah grew up listening to old school 1980s hip hop. It was hearing Move D perform that awakening young Naffah’s interest in electronic music.
Years of education followed, Naffah adopting the moniker Lazare Hoche in honour of the famous 18th century French general. The leader was renowned for his quick-thinking, stern outlook, and ruthlessness. Likewise, Hoche always preferred a self-built approach. Years were spent investing in an analogue-friendly home studio to create a hub of innovation. Then came the establishment of solid relationships with the big players in the underground scene. Finally, a record label was found in 2011 with a vision to promote the renaissance of the Parisian scene. The first release from Stephan Hoellermann was an unexpected success. It’s quoted that German distributor request an order of all available stock. Continue reading →