An impeccable hour of music encompassing funk, boogie, house and techno from the Antinote mainstay.
On paper, this TTT collaboration between two of Paris’s more interesting producers of recent times seems a little unlikely. On one hand, you have L.I.E.S regular and Editions Gravats co-owner Low Jack, a producer whose distinctive output has blurred the boundaries between industrial-influenced stripped back techno, experimental noise, dirt-encrusted ambience and opium-soaked. On the other, there’s D.K., whose recent releases for Antinote have been almost the opposite: breezy, picturesque, warm and melodious, with clear Balearic and new age house influences. While his releases under the alternative 45 ACP alias have been a little on the dustier, more distorted side – particularly the Change of Tone mini-album on L.I.E.S – unfettered beauty and positive mood enhancement remain the foundation of his output.
The Paris-based producer also known as D.K. will debut on L.I.E.S. with a new album next month.
Some of electronic music’s most consistent labels of recent years have traded on the interplay between dark and light, alternating between releases that chill the blood, dumb the senses and soothe the soul. Top of the list is arguably Quentin Vandewalle’s Antinote, whose releases are getting increasingly hard to predict. On one hand, you have the murky, industrial-influenced electronics of Nico Motte, the spaced-out synthesizer experiments of Stephane Laporte and the murky techno rhythms of Iueke; on the other, the humid, tribal-influenced tropical compositions of Albino and the shimmering, rave-era rush of Geena. It’s as if Vandewalle is a man of schizophrenic tastes; half of him wants to embrace misery, the other half run down Parisian streets naked, while feeling the love-for-all effects of particularly strong MDMA.
You can experience the refinement and class of the Frenchman’s latest record in full here.
The Parisian will return to Antinote with a new record due next month.
Few who heard All Day Everyday, the debut single by Parisian producer D.K. on Get The Curse Music, can have failed to have been charmed by its dreamy, new-age influenced pads, hissing analogue rhythms and sun-baked synthesizer melodies. It was rather surprisingly overlooked on its release in January, save for a few heads who drew comparisons with the tropical house and new age techno promoted by Future Times and Canadian brothers-in-electronics Mood Hut. The comparisons were fair. The mysterious French producer’s use of dense, off-kilter analogue rhythms, fizzing cymbals and picturesque melodies echoed the likes of Aquarian Foundation, Pender Street Steppers and, most potently, Maxmillion Dunbar. The 12” even boasted a stripped-back dub that sounded not unlike Max D’s work for L.I.E.S. as Dolo Percussion.
Ahead of its release on Antinote, the debut album from the Parisian newcomer can be heard in full here. Read more
The Parisian producer will release his debut album on Antinote later this month.
Using the tagline “nautically inclined” for your SoundCloud profile may dredge up all-too-recent memories of sea punk, but fortunately Lumigraph’s music doesn’t rely on twittering dolphin sounds or sea foam blue hair dye to leave an impression. Instead, the term might apply more accurately to his geographical preferences: Scroll through his tumblr and you’ll see vistas and wide-open spaces overlooking bodies of water: Shots of tourist-filled Montauk Point, photos taken out the window of airplanes, the glimmer of sunlight reflecting off the surface of swimming pools. That same nautical influence was very traceable in recent EP for Mister Saturday Night, which walked the line between breezy house on “Yacht Cruiser” and the claustrophobic improvisational crunch of “Playing My Numbers”.
We quiz the Parisian about his new label Odd Frequencies.
An emergent local Parisian talent will helm the first release of 2014 from Clement Meyer’s label.
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