Originally conceived in the late 1990s when mix CD series were ten a penny, Studio K7’s DJ-Kicks compilations rival Fabric’s similarly epic sets for quality and diversity. There are, of course, differences, most notably in outlook. Despite an early contribution from techno legend Stacey Pullen, the first decade of DJ-Kicks was typified by contributions from such downtempo artists as DJ Kam, Kid Loco, Thievery Corporation, Rockers Hi-Fi and Stereo MC’s. Although the series has moved on since then (see sets from Tiga, Chicken Lips and the Glimmers), DJ-Kicks has always been about more than bare club hits. One of the series’ best assets is the scope it offers DJs to move in different directions and step outside of their comfort zone. It’s little surprise to find that this latest instalment, mixed by Motor City Drum Ensemble man Danilo Plessow, gives a far better insight into his many musical inspirations than his own productions ever could.
Plessow is a more versatile DJ than many give him credit for, but his celebrated productions rarely stray from the confines of a signature sound that mostly touches on warehouse-friendly retro-futurist house and comfortable deepness. Sure, it’s a good sound, but it doesn’t suggest that his record collection boasts some notably weird and wonderful nuggets. Or, for that matter, that Sun Ra and Loose Joints are as big an influence on his studio work as Mr Fingers and Basic Channel. All of these artists make an appearance on Plessow’s DJ-Kicks mix, alongside plenty of other well-picked audio surprises.
If the mix had a theme, it would be the fusion of the organic and the electronic – music made with machines versus music made with traditional instruments. It’s a theme that’s visible from the word go, when the crackly jazz and blues of Sun Ra and Electric Wire Soul blend seamlessly into the dubwise techno movements of Basic Channel. Or, a little later, when the impeccable 21st century soul of Peven Everett slips into some heavyweight jazz-house and the classic Chicagoan deepness of Mr Fingers. Throughout, there’s a laidback, groovesome feel that’s as effortless as it is enjoyable. Plessow himself sums up the mood perfectly on the traditional ‘new’ DJ Kicks track, “L.O.V.E”, which pits his traditional deep house muddiness against live keys and bass. It’s one of his most interesting, detailed and well produced tracks to date.
There are, of course, some great deep house and techno moments included – see Tevo Howard, Robert Hood, Latecomer etc – but these largely take a backseat to the German producer’s other musical passions, from Afrobeat and leftfield disco to proto-house and IDM. If anything, they provide a kind of fail-safe aural glue, a digital pulse to draw all the other disparate elements together. That it all makes sense musically and flows brilliantly is testament to Plessow’s immense skill as a DJ. Whether the beats were played by a drummer or programmed into a machine, they can inspire and move you all the same. As a result, Motor City Drum Ensemble: DJ Kicks is as enjoyable a DJ mix as you’re likely to hear all year.
Matt Anniss
Nothing really beats the first few seconds of this startlingly original debut from Germany’s Brandt Brauer Frick. The rest of it is great too of course, but it’s during those very first 30 seconds that you immediately get where this album is coming from. As opener “Corky Prelude” is slowly faded up, the rumbling percussion part and distant bass sounds (which could easily be just another ordinary techno tune) reveal themselves to be a piano and blocks being hit, both clearly being played live.
BBF clearly approach techno (or indeed all dance music) with more than an awareness of jazz and classical modes. And so, over “You Make Me Real”, they set about making techno, but with live drums, treated pianos, trombones, harp, marimba and a host of other treated live sounds. The results go beyond the obvious Steve Reich/70s minimalist precedents and genuinely create their own deep, nuanced and, ultimately, fun sound. “Mi Corazon” is as playful as it is intense, while the slight Latin lilt to “Bop” makes sure this isn’t just a po-faced, overly-earnest project – the songs here live and breathe.
While this was clearly not meant to be a very conventional source of DJ fodder, songs like “RW John” could definitely be slipped into a melodic house or techno set by a crafty mixer. Minimal fans, as well as progressive jazz and classical listeners simply have to listen to this record. After the dominance of the drum machine and the 303, perhaps this kind of project will serves as a catalyst for a new wave of live techno.
Oliver Keens
!K7 have called on Milo Cordell of “strident electro rock duo” The Big Pink to mix the second installment of their rather infrequent Tapes mix series, which is set for release on October 18.
XXX is a peek into the kaleidoscopic musical brain of Jimmy Edgar. The Detroit native has touched on the influence of Prince and Kraftwerk in his formative years, but you could also point to his past signed to Warp, 80s electro funk, dubstep and the cosmic R&B pioneers SA-RA Creative Partners as musical references here. The prevalent aural mood is taut, hyper sexed future-retro funk as demonstrated on the shimmering talk box flex of “New Touch” (Chromeo could learn a thing or two here).
There are interesting sonic counterpoints interspersed throughout though. “One Twenty Detail” merges the electronic mind fuckery of vintage AFX with crushing dubstep kicks and “Push” adds further credence to Edgar’s interest in dubstep with a mutant hybrid of midrange bass tears and brilliant pulses of macabre electro. It’s Edgar’s willingness to change tempos that marks him as one of the better electronic contemporary music producers. “Rewind, Stop That Tape” sounds like a 21st century update on Kool & The Gang’s “Summer Madness” whilst “Physical Motion” recalls the aforementioned Sa Ra Creative Partners in their formative pomp and includes some excellent vocal interplay between a talkbox clutching Edgar and guest singers Anet and Azealia.
Tony Poland
Hot on the heels of his DJ-Kicks compilation, which was released last month on !K7 Records, Hyperdub boss Steve Goodman (aka Kode9) takes one of the exclusively made tracks from the aforementioned album and teams up with long-term collaborator Spaceape to give it a bit of a vocal touch up and a new breath of life for the darker, more intelligent side of the dancefloor.
The quaint, hypnotic cowbell tinkling and richly blended intro of “You Don’t Wash” sits well with the husky, murmuring, slightly MC Kemo-esque lyrics courtesy of Spaceape. The ghost of Kode9’s jungle past creeps in from time to time, keeping things vibrant throughout the silky smooth, rippling flow of the track. Echoing prophetically into the emerging tune with a perfectly placed series of siren bleeps, blowing horns and funky SFX, the words become just as much a part of the melody as the soca riddims and future garage synthy haze (a sort of inadvertent nod to Joker-crossed with-Joy Orbsion’s “Hyph Mngo”). They are merged into the fabric of the music with a shimmering translucence, rather like a finely crafted watercolour painting. Spaceape’s lyrical contribution does not revolutionise the track particularly, or change it beyond recognition, but instead serves to enhance what is already there, and as a result, “You Don’t Wash” resonates deep into the musical consciousness long after it has finished playing. Belinda Rowse
Border Community head honcho, James Holden has always maintained a kind of DJ free spirit which has enabled him to work outside the usual constraints of techno as we know it. This, alongside his dedication to new production talent has made him the perfect choice to compile the next instalment of !K7’s long serving DJ Kicks series. Out later this month, the compilation is, as usual, accompanied by a single from the UK producer. “Triangle Folds” is Holden’s first release in four years yet still feels like a logical progression from his last effort, 2006’s debut The Idiots Are Winning.
Using his extensive modular synth collection to mould tripping mid-tempo sequences which sway, bobble and bounce with Holden’s typical lushness and acute sense of melody, “Triangle Folds” has a delicate but unmistakably danceable feel to it. The track is a glittering combination of analogue synths arpeggios and buzzing drum pads that tick away in their own inimitable and curious rhythm patterns. These rhythms are loose and have a live feel, typical of Holden’s trademark sound, as are the quirky time signatures. His ultra detailed approach to techno once again manifests itself here, so much so that it’s 115 bpm pace would even refrain many from even calling it techno. B-side, the “Inside Out” version is even more unconventional, slowing things down yet more and turning proceedings into a folk tinged, psychedelic tambourine Schaffel rework. Focusing on the sounds and atmospheres that surround the slowly pulsating beats, we are left with an intoxicating mix of arpeggiated bass and trickling synth lines. Both tracks show James Holden at his individual, unconventional and wonderful best. It is his ability to avoid dance music’s most tired clichés, as once again proved here, that makes James Holden the singular producer that he is.
Review: Tom Jones
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Hot on the heels of Juan Maclean’s housetastic effort, !K7 Records have revealed the tracklisting for the next DJ-Kicks compilation, compiled by James Holden.
Detroit musician, photographer and designer Jimmy Edgar will release his second full length album in July through !K7 Records.
Studio K7’s long running mix series, DJ-Kicks, continues with an instalment from NYC disco head Juan Maclean (former hosts include the likes of Hot Chip, Booka Shade and Henrik Schwarz). Sculpted with a combination of classic tracks and more recent cuts, the mix displays a diverse collection of songs that are more focused on the club than past mixes.
Although Maclean is mostly known for his productions and live performances, he is also a DJ of some repute and his inclusion in the series is no surprise. What is somewhat intriguing, however, is his decision to make a straight up house mix. Over the running time of seventy-two minutes, Maclean keeps the energy levels high as his unleashes his collection of records meant for the club. Selecting from a rich tradition of house music with a disco twist, he includes a combination of classic tracks like Rick Wilhite’s “Get On Up” (remixed by fellow house don Theo Parrish) and recent disco cuts from the likes of Shit Robot, Still Going and 6th Borough Project.
The mix has a free flowing feel throughout due to Maclean’s raw method of producing: the whole compilation was mixed live using only two turntables, a couple of filters and a tape delay, placing the emphasis squarely on the sprit and excitement of the mix as opposed to its sound.
Review: Tom Jones
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Artist: Cobblestone Jazz
Title: The Modern Deep Left Quartet
Label: K7
Genre: Deep House
Format: 12″, CD, Digital
Buy From: Juno Records (12″, CD), Juno Download
This second album from the former trio (now permanently joined by fourth member The Mole) sees Cobblestone Jazz refine the process and sounds from their debut 23 Seconds. Though rooted in minimal techno, the group take a much more free and improvisational approach to recording, something that bears fruit almost immediately on “Sun Child” which combines the slick Rhodes piano sound of Bob James with paper thin claps and live cymbals to give the tune a vitality seldom heard on rigid minimal.
“Mr Polite” is a great lesson on how to use vocoders to devastating effect – repeating a mantra-like refrain as instruments join in around it. “Children” on the other hand is sparse and edgy with shakers and hi-hats to the fore. Stepping away from techno rhythms briefly, “Midnight Sun” slows the pace right down and creates a dreamy soundscape around some distant and seriously warped vocals – a combination that’s as beautiful as it is intriguing. Though Cobblestone Jazz’s approach is different to most, don’t let the methodology fool you – it’s still a minimal dance record through and through, albeit with some brilliantly fresh ideas and sounds.
Review: Oliver Keens
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Artist: Bomb The Bass feat. Paul Conboy
Title: Boy Girl
Label: K7
Genre: Disco/Nu Disco/Re-Edits
Format: Digital
Buy From: Juno Download
Tim Simenon’s Bomb The Bass returns with new album Back To Light very soon, but ahead of that comes this release with singer Paul Conboy in tow. Always working with the tide rather than against it, Simenon’s sound and production has constantly changed to suit the times – as seen in landmark singles like 1988’s “Beat Dis” or 1995’s “Bug Powder Dust” – and it’s great to have the master back sounding as fresh as a daisy in 2010.
“Boy Girl” is a great choice of single, with long-standing BTB collaborator Paul Conboy lending some nicely strung out vocals to the slowly rising bed of synths. It has enough club action and pop sheen to prove a hit, but the remixes put a little bit more fire into the song’s belly. Canadian duo FM Radio Gods do a great job of cherry-picking the vocals and adding some seriously funky and deep grooves.
Brazilian DJ and producer Anderson Noise also keeps the vocal but adds some dynamics, doubling the length of the original to create a dark slice of techno genius. Leo Zero goes even longer (which won’t surprise anyone who’s heard his edit of America’s “Horse With No Name”) and takes 12 minutes to unfurl his beautiful Balearic-flavoured mix. Always able to confound expectations, it’s great to hear Bomb The Bass still sounding so relevant. Roll on the album!
Review: Oliver Keens
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Artist: Mavis
Title: Mavis presented by Ashley Beedle and Darren Morris
Label: K7
Genre: Funk/Rare Groove/Reissues
Format: CD, Digital
Buy From: Juno Records, Juno Download
Anyone with any preconceptions about this album had better read the small print first: this is an album concept that beggars belief! After getting back into the seductive soul of Mavis Staples, House legends Ashley Beedle and Darren Morris made a 58 bpm ballad in the style of their new obsession, and sent it to Lambchop’s Kurt Wagner (previously a guest on X-Press 2’s Give It). Thankfully, the idea snowballed into a whole album. The boys sent the same beat to a host of other vocalists, and made adjustments to each backing track over the course of the whole album.
It starts appropriately with the original, complete with Kurt Wagner’s smokey vocals. But despite the apparent limitations, every song is fresh, unique and essential. Candi Staton’s “Revolution” is anthemic, string-laden genius and absolutely dripping in soul (also included is a well-earned extended mix). The stripped-down Ed Harcourt track “Puzzles and Riddles” is also a gem, made up of his smooth vocals, some piano and some mesmerising effects and production. Cerys Matthews also turns in a wonderful performance on “Nemesis Required”, which has the brilliant chorus “Things been awful quiet, nemesis required”. Other vocalists to lend their talents for the love of Mavis include Chris Coco, Crazy P’s Danielle Moore, Edwyn Collins and St Etienne’s Sarah Cracknell.
As a tribute to a legend, this is top notch. But don’t let the novelty fool you – Ashley and Darren have unexpectedly made one of the most sweet and soulful albums in recent years. An amazing idea, and more importantly, an album full of brilliant and beautiful songs. Highly recommended.
Review: Oliver Keens
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