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 →
Mexican-born producer Ringopolar gives his fellow countryman’s track a makeover that supersedes the original 2016 release. In the spirit of his associated Swedish label Tom Tom Disco, the heteroclite vibes featured combine with top-tier percussion work. Though the DJ’s notable releases such as Sun Of Lemuria (Ransom Note) & Sistema Lunar II failed to capture an audience so far, this remix is yet another gem to be unearthed by lucky crate-diggers.
Assortment of vocal samples litter the track, from pitched-down male vocals to a chanting female choir & even tints of reverb-heavy vocals fitting for a Hot Since 82 tech-house cut. The core of the track comes in the shape of the ever-present pulsating arpeggio that experiments in shades of various filters. Restrained bassline provides the groove of the track that’s worthy of a place reserved in Daft Punk’s ‘Homework‘ catalogue. Continue reading →
Upon first hearing Hans Thalau’s opulent cut ‘Black CC’ we straight up thought it was the Mountain People. Chords that were engineered to a crisp, shouldered a dubbed bass that rose and fell like Mediterranean waves. When looking deeper, we were reminded that it was none other than the head of Thai Communications label himself. The German producer has been under the radar from those in the know, yet his synth-driven deep house cuts class him as one of the best. Released on Shur-I-Kan’s Dark Energy Recordings in 2013, ‘Asdis’ came to our attention after hearing a slew of other tasty Hans Thalau morsels. Brandishing a signature dubby bass, the melody of the synths give the track a frolicsome vibe fitting for a Hed Kandi, Defected In The House compilation or a tINI & the Gang party.
‘Asdis’ breaks this mould through the statement asserted in the title. It is a Nordic name for ‘Divine Being’. Echoed ambient stabs which one may find in an Echochord track makes you feel as though the ear has space around it to move. A chugging bongo is brought down to the ground by the toneless bass that innervates through its inflection. Hans is adept at warping a vocal, and this one seesaws ‘Follow me’ in synergy with the stabs. And why are you following? Because the realm the vocal is inviting you to teleport to is pure. Hans exhibits the finesse of a master keyboard player, each chord progression sounding effortless. The spirit of Kerri Chandler is felt, as the pads sound straight out of his 1990s release ‘Keep Me Inside’. Continue reading →
Released by Whiskey Disco, a sample-heavy label, in 2012 ‘Warm Wind Brewing’ is a mouth-watering appetizer for a peak summer set. Nightmare On Wax created its demand when he dropped it in the warm up to his Boiler Room London set. Ever since, the price for the Beards EP has shot up on Discogs. Upon first listen, one cannot help but be transported to the picturesque seaside of a deluxe southern France resort. Mature in its restraint, sensual melodies combine the soundtracks of a 1960s New Wave film with the late 70s West Coast Yachtpop.
The potency of the tracks comes from its gracing of the slower tempo. Clocking-in at 101 BPM, its hard to imagine that the original could retain its excellence at an increased speed. Rather, the slacken pace creates an aura of tranquillity that fosters an experience that is loosening. Sumptuous strings sampled from American composer Henry Mancini’s 1961 release ‘Lujon’ leisurely skate around the ears of the listener like a pair of skaters. Continue reading →
According to Soundcloud, nobody truly knows V, the face behind this killer, melodic track. Some claim V to be a Belgian with an EBM heritage, others, a nomad from outer Prussia. If you let music do the talking, then V – Mon Vieil Amour is a 80s influenced nu-disco floor-filler. It definitely pumps the melody into your heartbeat. Reverb-heavy claps follow a pulsating kick, while V plays around with a range of tasty layers of synths and arps.
A track that can equally be used to increase the BPM during the warm up, as it can to maintain the vibes mid-set. It can be best understood as a track that you’ll replay in the morning after a great night out to put a nostalgic smile on your face.
Not to be confused with Marc Kinchen, Sweden-based M.K. VII (also known as Mark Seven) has been releasing music since the late 90s. Fast-forward to 2016 and you’ll find that the spirit of the 90s NY house scene has remained to be an integral part of M.K’s production.
The vocal sample is based around the recreation of a telephone conversation cut up live on NYC Kiss FM’s legendary Tony Humphries. It feels like a nostalgic throwback to the golden era of New York’s underground scene. The layering of the track is simple, yet effective. Synths sprinkle down halfway through to mark the subtle excitement of knowing that memories will be made. The track is perfect to play when marking the transition from your warm up to the main event of your night out.