The best new singles this week
The singles you need in your bag this week
SINGLE OF THE WEEK
CoFlo ‘A Warrior’s Dance’ (Ocha)
Cody ‘CoFlo’ Ferreira returns to the loving embrace of NYC label Ocha with a breathtaking EP of spiritually-fuelled house epics – including a stunning remix from Chicago figurehead, Ron Trent. Born into a family of Hawaiian and Portuguese folk musicians, the East Bay Area native began his musical quest at a tender age, starting out as a dancer before adding production to his creative repertoire. Ferreira has travelled the world performing, teaching, and learning various forms of dance and his years spent devoted to the Gods of rhythm have helped to endow his music with a powerfully affecting edge.
With previous vinyl releases on Local Talk and Fatsouls, this is his fourth wax appearance for Carlos Mena’s Ocha label, and must surely be considered among his most captivating work to date. ‘A Warrior’s Dance’ features an allegorical collection of tracks recounting the tale of a rainforest frog witnessing an “earthly dance” between two great Orisha warriors, with each mix presenting an alternate version of the exchange. The lavish musicality of the original version unfolds over spirited Latin percussion, with dramatic stabs, dream-inducing chords and delicate synth work skipping over weighted bass over a hypnotic arrangement. More introspective still is the blissfully winding arrangement of ‘Minha Mae Iemanja’, with its celestial piano motifs, bubbling synths and driving rhythms combining for a mystically-charged dance floor exploration.
Next, Ron Trent steps up with a typically masterful rework of the title track. Such is the prolificacy and uniformly superior quality of his work, it should come as little surprise just how good his version is, but the musical landscape he constructs here is genuinely striking nonetheless. A touch more driving and psychedelically charmed than the original, the music unwinds over hyper-infectious drums as near-infinite layers intertwine, with distant chants echoing through life-affirming pads before aquatic chords burst into dazzling focus. Building and evolving throughout as the thick bass cements the groove, the music is deep and delicately detailed while endowed with a pointed dance floor edge. Utterly mesmerising. Finally, CoFlo presents his alternate ‘Backside’ version, with joyful synth solos dancing over a rolling groove, with enlivening organs adding to the gloriously celebratory quality of the cut.
PC
Yosh – Skyline EP (Dansu Discs)
It seems like Mark Ramsey has burst out of nowhere with a ready-made salvo of garage and breakbeat heaters ready to casually shell on an unsuspecting crowd. The truth is, he’s been in the club game for decades, originally cutting his teeth DJing on pirate radio back when garage was first taking shape in the mid 90s. However, he’s struck upon a rich vein of inspiration with his work as Yosh, which first landed in 2020 via Vivid and quickly spread to labels like Dr Banana, Timeisnow, Lobster Theremin and more. Those labels should give you some idea of what’s up with his sound, and no doubt Ramsey is riding the wave of UKG and jungle revivalism which is galloping through the contemporary club scene, but there’s something else at work here which sets Ramsey apart from a very crowded corner of the dance.
Of course Ramsey’s deep roots in jungle and garage stand him in good stead to be able to work with authenticity when he approaches the craft, whether dicing up drum loops or programming nifty 2-step beats, and you can hear that in his tracks. But equally telling is the fact he doesn’t try in a cynical way to make his music sound like it was made in 93 on an Akai sampler and a four-track tape. On his latest release for Dansu Discs, his music gleams and shimmers with a modernity that is all his own.
There’s plenty of classic break choppage on Skyline EP, not least on lead track ‘Has It Got To Be’, but Ramsey happily folds other elements into the mix. On ‘Mad Scientist’ the mellow bath of pads moves with a dub techno fluidity which offsets the rough snarl of the beat. ‘Skyline’, which displays Yosh’s 2-step side in no uncertain terms, equally glides through blissed-out pad tones. Crucially though, Ramsey knows how to strip these back and drop into a raw and punchy groove when it counts. There’s still a degree of formula at work here – this is purpose-built dance music which adheres to the traditions of the culture – but Ramsey celebrates that formula in a wholly contemporary way rather than trying to pass for something from 30 years ago, and he’s got the knowledge, experience and flair to pull it off.
OW
V/A Buena Onda: Balearic Beats 2021 (Hell Yeah!)
Marco Gallerani’s delightful Hell Yeah! Recordings present the second instalment of samplers lifted from this year’s ‘Buena Onda’ compilation, once again serving a varied blend of immaculately conceived Balearic wonder. Named after the Berlin-based event series the label hosts, ‘Buena Onda’ sees an extended cast of friends and family dive deep into their creative souls to supply a spellbinding and cosmic-leaning annual revue. The full album sees a release on good old fashioned cassette tape any moment now, but luckily for disc spinners, the delectable highlights spread across the duo of wax samplers cover plenty of ground. Launching the latest sampler is literal family member Gallo, whose ‘Abysso’ track is serviced with a ‘Mellow Acid’ remix by Japanese producer, Calm. Gently evolving through celestial strings and elegant piano licks, muted acid bass drives the track over a tight 4/4 rhythm before monumental pads rise to usher in a stirring crescendo, gradually dissipating into the balmy Mediterranean night.
Next, the gentle swell of calm seas mark the arrival of Icelandic producer Tonarunur with ‘Flotholt’ – with its interwoven acid motifs, floating pads and staccato synths combining majestically before the unobtrusive drums eventually arrive to augment the groove. Burgeoning Italian artist Relative then appears with the rolling conga rhythms and sub-focussed bass of ‘The Healing Place’. Aptly titled, this soothing number overflows with Balearic charm, with gently psychedelic synths soaring over the infectious groove as phasing pads and subliminal vocals set the scene before feel-good chords lift the track into euphoric territory. Last but by no means least, it’s Gallo’s turn to provide the remix, with his reflective version of ‘Imagine’ by Kayroy & Greetings. Harmonic synth layers caress like a cooling summer breeze, levitating over a sparse drum track while fizzing arpeggios join glassy chords to create a trance-inducing golden meditation.
PC
Jayson Wynters – Filtered Xploits (EON)
In the wake of his remarkable EP for Delsin, Jayson Wynters closes out 2021 with an assured continuation of his true-school techno sound. When techno splinters in so many myriad directions and mutations, an artist like Wynters stands out for his intuitive expression of the genre as it originally came to be in Detroit. Of course Wynters is from Birmingham, not Michigan, and there may be a generational gap at play, but he has a way of approaching his productions which channels the starry eyed funk of the genre at its inception, and it feels refreshing and invigorating. This isn’t about reinventing techno, but instead being reminded how uplifting and sincere the sound of sequenced synths and drum machines can be.
On ‘Filtered Xploits’, the lead lines ebb and flow with fluidity, the bass lands warm and rounded, and the beats smack with an in-the-room immediacy. This is maximal dance music charged with electricity, smart and seductive in equal measure and without a shred of trancey guff or disposable retro-isms. Offering an extension of this idea on the flipside, Chicago legend Jamal Moss takes the reins for a Hieroglyphic Being remix which trades in further elevated tropes of Black dance music. The ‘Rework’ teeters on the brink of collapse in Moss’ established style, all brittle, metallic clatter and heavy lashes of noisy synth work, yet the uplifting spirit of Wynters’ original abides. If anything it manages to be even more transcendent, suggesting spiritual awakenings for dancefloors primed for such a nasty yet philosophical approach to the techno tradition.
OW
After a lengthy break since her 2017 debut, mysterious Parisian artist Serious A is finally back on wax with an excellent EP on Australian label, Ilio. It isn’t especially easy to glean any background information on the artist (who describes herself as a scientist on her Facebook page), but this admirable approach to (anti) marketing only adds to the intrigue. What is abundantly clear, though, is that Serious A means business when it comes to her music production. The rugged-but-musical sound she presents is wildly imaginative, standing out like a brightly burning beacon among much of the saturated and largely identikit ‘deep’ house field.
Opening track ‘L Schema’ brims with subterranean swagger, launched via a tom-heavy electro rhythm and overflowing with loose-limbed machine funk, with jazzy chords surfing over a deviant bass groove while disorienting pads and sweeps intoxicate as they soar. Next up, we find the growling funk bass and maniacal drum hits of ‘Fresh Croquettes’. Again presented with an obvious disregard for drag and drop producer packs or overly polished mix aesthetic, the idiosyncrasies of the music arrive like a breath of fresh air in a smog-filled cityscape. On the reverse, the hallucinatory arpeggios and delirious synths of ‘Space Cadet’ unfurl with abandon over a scattered beat, before the heavy percussion, vocal swells and rich chords of ‘Coastal Village’ see us all the way out into the haze of the stratosphere. Magnificent work here and apparently limited to 150 copies, so don’t drift off into slumber and all that.
PC
Bruce and Lurka set out their stall very quickly as they inaugurate their new collaborative project XRA. ‘Lines Of Light’ strikes with an appropriate amount of incandescence as a voice which sounds like it might well belong to Bruce calls out in a melodious loop, “Lines of light leave no trace.” It feels like a misleading phrase to be honest, as said voice wrestles with digital sound processing and bio-mechanical production flex which zips around the virtual space between the speakers. The sound conjures up infinitesimal CGI and streaks across the stereo field with tails of decay which feel like they do indeed leave some kind of a trace. It’s an ostentatious opening statement which tells you both producers are here to test themselves and their listeners – Bruce sounds like he’s merged his very being with the machine in the process.
There’s a more structured rhythm to catch hold of as ‘Bee Track’ sets out, but once again this is a chance for two skilled producers to indulge their studio chops and so the emphasis remains on glassy shards of finely sculpted sound, granular displacement and off-key synthesis. Even as the familiar trope of a breakbeat comes spluttering through the mess on ‘It Lives’, it doesn’t have a chance of sounding conventional. There are hooks to be had – bloated riffs with detuned melodies, stop-start dynamics, and even the odd tease towards a drop – but nothing is built to be familiar.
At times the complexity touches on that most obvious of touchstones, Autechre, and certainly you can sense the looming influence of the pair in this joyous flexing of tech. This is a sincere celebration of the limits electronic music can reach in terms of sound design, and at times that may mask the human hearts behind the sonics, which may explain why they wanted Bruce’s voice to call out at the front of the record. But not every record has to be warm and soulful and organic and hand-played – on XRA the machines quite clearly won.
OW
Uzu Moon ‘Paradise Forever'(Fluid Funk)
Dutch newcomer Uzu Moon shows up on Rotterdam-based Fluid Funk with a gorgeously sun-flecked selection of poolside jams, coming complete with a remix from prolific UK producer, Cody Currie. Fluid Funk themselves only sprang into life little more than a year ago, but have already presented tantalising work from Felipe Gordon, Fouk, as well as rising talent, Beau Zwart. Continuing their commendable approach to A&R, the keen ears behind the label have scouted another little-known producer with a flair for composition, serving the first-ever vinyl release from the Amsterdam-based Dutch/Japanese-American creator.
Though inspired to embark on his studio career thanks to the dusty beats of MPC maestro J Dilla and Mad Lib, Uzu Moon’s sound appears to have more in common with the horizontal vibrations of a steamy Bali sunset. The music is informed by “transformation and acceptance” experienced by the artist during the lockdown, and an introspective mood is clearly discernible from his emotive and harmonically rich productions. ‘Paradise, Forever’ opens with the graceful e-piano and warming bass of ‘Asa’ before we land among the bittersweet chords and searing vocals of ‘Sunder, Love’, with its subtle acid layer adding an earthy feel to the skyward facing sonics. ‘When I Get Home I’ll Know It’s Over’ continues the delicate balance between serenity and discreet melancholy, with the tropical sensibilities again measured by a wholesome acid ballast. Finally, Cody Currie’s take on ‘Sunder, Love’ adds beef to the drums while gently nudging the tempo, respectfully transposing the track into percussion-heavy dance dimensions.
PC
Appleblim – Infinite Hieroglyphics (Sneaker Social Club)
Continuing his open-ended exploration of rave as a continuous form spanning electronic music cultures from across planet Earth, Appleblim’s Infinite Hieroglyphics album landed earlier this year as a tape on Sneaker Social Club. Now four of the most forthright cuts get an airing here as a club 12”, and it’s always worth considering the refreshed context such a release gives to particular tracks without the rest of the album around them. In this case, ‘Riley’s Spiral’ is placed up front as a vibrant abstraction of grimey square wave bass, electro machine blips, psychotropic arps and crunched-up breaks, and it sounds like a towering opus of psychedelic hardcore the likes of which you’ve never heard before.
This psychedelic thread is the common factor throughout the 12”, from the refracted beams of light marking out ‘Fallen’ to the Motor City ink blots of ‘Illusory Universe’. Appleblim wields his melodic elements with a dripping brush, letting the synth shapes bleed out and overlap, working movement and relief into every layer to create a three-dimensional work. Even the familiar touches, such as the bleep-era bass hooks on ‘Zephyr’, sport a thick layer of treatment to enhance the dosage. As four pieces of club music on a record, they’re extravagant and unusual, which makes them all the more special and indeed worthy of disseminating on an appropriately sized system.
OW
Challo ‘Lucid’ (Boiled Wonderland)
Bangkok-based label Boiled Wonderland arrive with their second release, serving up a brooding four-tracker from fellow Bangkokian, Chalo. The team behind the label are among the key proponents of the recently launched Bangkok Community Radio project, whose commitment to highlighting the intriguing underground music scene bubbling away in Southeast Asia is profoundly worthy of commendation. Having spent time living in Berlin, mastering engineer Chalo returned to his homeland fuelled by the darker shades of techno he encountered while living in Europe, and his career polishing pre-masters clearly stands him in good stead when it comes to supplying hard-hitting sonics.
Bridging the gap between breaks and techno, the ‘Lucid’ EP opens with a late-night flourish via the rolling breaks and frosty pads of ‘Trickster’. Continuing the contemplative mood, the jagged drums and emotive pads of ‘Lucid’ are joined by cascading staccato synths for one of the collection’s highlights. Next, the immersive panorama of ‘Mirage’ seduces listeners into a deep meditation before launching into a fierce burst of kinetic expression. Finally, Bristol-based producer Remotif shows up with his retro-futurist jungle interpretation of the title track – tipping a cap to the pioneering intelligent d&b movement while embellishing the cut with a slick modern production gloss. This is engaging work across the board and a fascinating glimpse into the intoxicating landscape of the evolving Bangkok underground.
PC
This week’s reviewers: Jude Iago James, Oli Warwick, Patrizio Cavaliere.