Sometimes, an artist’s career can stall inexplicably. That certainly seems to have happened to producer Ewan Wilmott, who made his vinyl debut on Andy Blake’s sadly defunct Dissident imprint way back in 2008. The two tracks he released on the label, “Metallic Dawn” and “Long Lost”, hinted at great things. Variously touching on smacked-out deep house, vintage synth-core and hard electronic disco, they largely went ignored.
Releases from artists as varied as Mark E, Radio Slave, Move D and Prosumer make for the impressive back catalogue that is Gerd Janson’s Running Back – an imprint that has always been noted for its high standards if not prolific output – with less than twenty releases in its first eight years of existence. Since the turn of the decade, those standards have remained, but the frequency has certainly increased with last year’s release schedule dominated by the illuminating collaboration between Mim Suleiman and Juno Plus hero Maurice Fulton.
2011 has seen Running Back impress further with every arrival, as the marquee signing of Tiger & Woods was further complemented by Janson coaxing Todd Terje back into the studio for the superlative Ragysh which is odds on to feature in many an end of year poll. These headline releases have been complemented by some less celebrated, but by no means less impressive productions – Marco Passarani’s heavily psychedelic title track from Colliding Stars Pt 2 springs to mind, as does that stunning Son Of Sam reissue.
Underpinning all of these releases has been a commitment to press everything on nice heavyweight vinyl and surround them in sumptuous artwork, and their latest twelve is perhaps the best example of that to date. The focus shifts to another under-the-radar producer in Suzanne Kraft, whose Green Flash EP makes for one of this year’s most attractive releases thanks to the distinctive green and yellow patterns that adorn the cover art.
Tellingly, the music itself proves to be even better, adopting a pleasant midtempo poise on “Morning Come”, with swathes of melodies infused with the slinkiest of filter treatments and looped vocal snippets. Suzanne (a pseudonym for a man, oddly enough, but who are we to judge) maintains these joyous flushes of emotion throughout the rest of the EP, with both “Turning” and the title track sounding like Tiger & Woods performing from the deep end of the pool, with the latter track deftly incorporating a classic Teddy Pendergrass sample. “Femme Cosmic” provides an excellent finish to proceedings, unfolding from a tinnily reverberant slowed down proto house drawl into some midnight cruise through dubbed out mutant 80s disco boogie.
Tony Poland
Gerd Janson’s Running Back imprint has unveiled its eighth release of 2011 in the shape of the Green Flash EP by L.A. producer Suzanne Kraft.
You know you’re onto something when excited young producers try to ape your style. That’s the exact position that now-renowned disco/house mystery men Tiger & Woods find themselves in following two years of much-hyped, much-played, white label 12” releases on their own Editainment imprint.
In recent times, many have tried to copy the Tiger & Woods formula, but no one has yet come close to matching the sheer heaviness and timeless quality of their loopy, edit-heavy, feel good productions. For proof of their genius, just check this debut full-length for Gerd Jansen’s always on-point Running Back imprint. Featuring a mix of new cuts (some with equally mysterious vocalist Em) and tracks culled from their previously limited white label releases (“Gin Nation”, “Kissmetellmeagain”, “Dr Burner” etc), Through The Green offers a lesson to would-be copycats in how to turn a bagful of boogie, disco and electrofunk samples into party-rocking disco/house gold.
By now, we should all be familiar with the formula: short loops teased and tweaked beyond recognition, copious amounts of compression to ensure weighty bottom-end, and cute track construction that ekes the maximum dancefloor impact from the simplest of elements. In this respect, their tracks are extremely formulaic, but you can’t argue with the results; they’ve found a successful model and nailed it – as Through The Green brilliantly proves. As you’d expect, the beats and basslines are heavier than a skipload of sumo wrestlers after a night at an all you can eat buffet, the loops addictively hooky and the builds judged to absolute perfection. The resultant tracks – whether old or new – sound just as incendiary on your home stereo as they do in clubs.
If you were being picky – and we are – you could argue that the best material here is the stuff that’s already seen the light of day on their 12″s. You could also argue that hardcore fans could probably skip this for that exact reason. In all honesty, that would be more than a little harsh. The new material is still worthy of your attention, and Through The Green holds together very well as an album; in truth, it’s one of the most enjoyable disco/house LPs of recent years.
Matt Anniss
When Mike Taylor’s first 12” dropped on Love What You Feel in 2009, a lot was written about his distinctly DIY approach to music-making. Like the early pioneers of house and techno, the Austin, Texas-based bedroom producer known as the Disco Nihilist makes raw and uncompromising music using analogue sequencers and various other bits of hardware kit. For that first release – and his subsequent vinyl outings on Construction Paper – Taylor recorded his tracks straight to cassette before submitting demos, given them a faithfully fuzzy, low-fi quality. It’s an old trick, but one that helped to give his homemade jams a genuine old skool feel.
Whether he’s used the same approach on this first 12”/digital release for Running Back is unknown, but it certainly sounds that way. Like his previous releases, Running (Far Away) is full of instrumental experiments that sound both authentically old and vacuum-packed fresh. The six tracks here offer a neat round up of Taylor’s talents and inspirations. “Greasy Grind” opens proceedings with a swift punch to the kidneys, combining brain-melting acid tweakery with impressively fuzzy industrial beats; think Cabaret Voltaire jamming with Phuture, recorded on a battered old eight-track, and you’re close. “Keep It Simple” continues the stripped-back acid theme, offering a floor-shaking concoction that is little more than heavyweight beats and bubbling 303-trickery. There’s a clue in the title. “A New Career In A New Town”, meanwhile, veers off into hypnotic dub-house territory. The composition is a little more complex and the aural palette more sophisticated, but it still retains that pleasing simplicity and lo-fi charm that marks out Taylor’s work.
“December 5th” sounds like an amalgamation of the EP’s first two tracks, this time recorded on the Starship Enterprise after a crash-landing on a planet made entirely of ice. Then there’s “Sci-Fi On Tape”, a surprisingly warm concoction that stumbles into Mr Fingers/Bobby Konders territory, like early Virgo Four after a fistful of little ‘uns. “Coffee & A Warm Paperback” continues this theme, wrapping sugary electric piano chords around a brilliantly simple groove. Taylor clearly has talent, and his dedication to the original DIY ethos of house music is admirable. Of course, style is nothing without substance, but Running (Far Away) has that in spades.
Matt Anniss
Those who’ve been watching Terje Olsen’s progress over the last decade may have become frustrated at the lack of original material from the Norwegian disco don. Since debuting in 2004 with the brilliant “Eurodans” – perhaps still one of the finest examples of loose-limbed, warehouse-friendly nu-disco – the tache-sporting DJ/producer has released just four more original compositions (and one of those was a live jazz remake of “Eurodans”). For a man of his talents, it’s incredibly frustrating.
Given this slow work-rate, it’s perhaps no surprise that there’s been much interest in this four-track EP for Gerd Janson’s Running Back imprint. Predictably, it’s a bit good, and arguably his best original work yet. While there’s nothing as melodically “big” as “Eurodans”, there’s clear demonstration of progression – both musically and in the quality of production.
“Ragysh” itself is the most obviously impressive of the four cuts. Like much of the best dance music, it is devilishly simple. For much of its nine-minute duration it offers little more than a rock-solid, head-nodding, house-not-house groove built around his trademark disco percussion and a nagging electronic riff. But then the breakdown comes in, introducing us to a raft of delightfully cosmic melodies that dart around excitedly, propelling the track towards a gasping climax. Orgasmo-house anyone? “Ragysh” has an alter ego in “Bonysh”, a self-consciously stripped-down drum track that ekes maximum thrills from simple switches between ever-more druggy percussive patterns.
The real highlight, though, is the more playful “Snooze4Love” – a delightfully Balearic concoction that bubbles excitedly with electronic gorgeousness. Its shuffling rhythms and minimalist approach to melody suggest that Terje has been studying German electronic music, but it still sounds much more Oslo than Berlin. The digital release also includes a sublime downtempo remake, which dubs out the glistening electronics and adds dreamy guitar phases for maximum Balearic effect. It sounds like an otherworldly jam between Pat Metheny, Steve Reich and Lindstrom, which is no bad thing.
Matt Anniss
Glasgow/London party types Huntleys & Palmers Audio Club will take over Plastic People next month to celebrate the launch of their eponymous record label with a suitably international line-up in tow.
Gerd Janson has coaxed some rare original material out of Norwegian disco kingpin Todd Terje, with the Ragysh EP set for release on Running Back next month.
Amidst all the excitement over Radiohead’s sudden announcement of a new album, news reaches Juno Plus of a raft of new material from disco’s international men of mystery, Tiger & Woods, over the coming months including a debut album for Gerd Jansen’s Running Back imprint, entitled Through The Green.
Second time around for Pelon’s long-forgotten dub techno classic, which first slipped out on Chain Reaction way back in 1996. These days, dub techno is ten-a-penny, but few contemporary records can claim to have the power, poise and invention of “No Stunts”. Even 14 years after it first dropped – to some acclaim amongst the techno community, we should add – it stills sounds fresher than many of the post-minimal dub techno records emerging from its motherland.
To put Pelon’s slept-on masterpiece in context, it was released at a time when Basic Channel were still in their pomp. As the infamous dub techno duo burrowed away in the studio, Chain Reaction showcased the work of younger contemporaries. Pelon – real name Henner Dondorf – was one such upstart. While he has since gone on to master and engineer numerous electronic records, “No Stunts” was his one and only solo single.
And what a single. The version chosen for this Running Back re-issue actually comes from a label compilation from 1998, but it varies very little from the original vinyl version. Now remastered, it comes on like a housier take on classic Basic Channel – its simple, delay and reverb-laden elements (relentless, rolling synths, one-note dub bass and solid kick drums) sparring constantly with occasional 909 snares and hissing hi-hats. It’s long, hypnotic, strangely beautiful and ethereal – and very, very good.Vinyl buyers with a passion for experimenting in the mix will enjoy the 30 locked grooves included on the flip – sounds and samples taken from the original sessions, just crying out to be used creatively. If you missed out first time around, don’t sleep.
Matt Anniss
Way before the world had fallen in love with the decidedly mind-altering riffs and rhythms of “Geht’s Nocht”, Roman Flügel was making a name for himself under the Roman IV pseudonym. It was way back in 1995 that he made his debut with “Altes Testament”, a classic chunk of Detroit-influenced tech-house that was only the second release on Playhouse. A second 12” – featuring the brilliant “Green Tea” – was released, but then little else from Roman IV.
This new four-tracker for Running Back, then, is something of a treat. In many ways, the German label is the perfect home for Flügel’s Roman IV exploits. Famed for releasing long, loopy deep and tech-house epics – think Mark E, Move D and Radio Slave – label boss Gerd Janson will no doubt have been delighted to secure the services of their big-hitting countryman.
“La Paloma” promises much – and on the whole delivers. The title track itself is a hypnotic delight – a ten-minute epic that works all-manner of barely-audible samples (distant bells, jazz samples, crackly pianos) into a weighty, late night tech-house groove. But there’s plenty more to enjoy, too. The decidedly trippy “Lucy” wraps dubbed-out chords around a relentless subterranean bassline, while “Sa Celenta” takes a leaf out of Mark E’s book by focusing the action around a lazy disco loop and bassline. The package is rounded off by digital bonus “123BPM”, an out-there African percussion work-out that will scare more than a few dancefloors this winter. It all adds up to a heady, late night delight that will confound, confuse and thrill in equal measure. Welcome back, Roman.
Matt Anniss
There’s certainly no denying that Birmingham producer Mark E is on top form right now. The recent “Special FX” single on his own MERC imprint was a wondrous creation; all slow build, dub-laden 80s soul vocals and just the right amount of dancefloor chops. This EP for Gerd Janson’s Running Back – usually a safe bet for high quality deep house – is another great offering.
Lead cut “Nobody Else”, for example, is a far bolder proposition than much of his catalogue so far. Built around dense layers of bongo-laden disco drums and a heavyweight synth bass loop, it builds majestically via spine-tingling pads, cute organ chords and classic vocal drops (the clue is in the track title). Stick it on in a club and the full power of the production roars through. I’d argue this was a major step forward; we knew he could do long, deep, head-nodding cuts; now we know he can mix it with the best for pure dancefloor thrills, too.
Flip “The Wolf” is perhaps more akin to what we’ve come to expect. Deeper, druggier and loopier than the A, it’s classic Mark E; all nineties NYC house chords, spiralling sirens and bumping head-nodding bass. For digital buyers, there’s also a neat little bonus cut called “Stoneleigh Express”. In turns muffled, claustrophobic and unsettling, it sounds like Orbital’s “Semi Detatched” re-cut for the ketamine generation.
Matt Anniss
Birmingham’s king of slo-mo disco Mark E will release the next EP on Gerd Janson’s Running Back imprint.
Artist: Heaven & Earth
Title: Prescription EP
Label: Running Back
Genre: Deep House
Format: 12″, Digital
Buy From: Juno Records, Juno Download
Running Back Records chief Gerd Janson has decided to revive a piece of dance history by reissuing Heaven & Earth’s classic 1995 house offering. Back then, producers Luke Solomon, Rob Mello and Zaki D teamed to form a collective known as Heaven & Earth. Paying homage to their favourite label, Prescription Records who were putting out the deep, acid house that they loved from owners Chez Damier and Ron Trent, the trio collaborated on two original tracks – the now legendary “A Space and Time” and “Prescription Every Night”.
The release blew up, turning the three London producers into household names overnight. – so much so that collective pronged off into their own solo careers. Such has been the demand for each, that a remix of “Beau Mot Plage” and Red Nail’s “I Think of You” are the only times that they worked together again.
Fifteen years later, Gerd Janson secured the rights to re-issue the release and even loaded the EP with a couple of note worthy additions to entice record collectors to pick up a copy even if the original sits proudly in their record box. An unreleased edit of “Space and Time”, where the piano takes on a more dubby feel, is joined by the disco tinged “Prescription Every Night”, immortalized in Carl Craig’s infamous 1995 Essential Mix.
This re-mastered and re-shaped EP is an original slice of the disco-house sound that has become so fashionable of late. As dance culture becomes more and more reflective, it is testament to the classic early tracks that inspired a generation that they are picked up again fifteen years later and re-issued for a new generation to treasure and cherish.
Review: Tom Jones
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