Empire State Human
Thursday, June 02, 2005
Motor // Stuka Stunt
posted by Charlestonjigger @ 11:14 p.m.
Stuka Stunt/Junker by Motor is the latest release from Daniel Miller’s techno - and most definitely Depeche mode free - offshoot Novamute. This track follows his original ethos entirely - make the most machine-like noises and hope there’s some mad fetish loon out there who will enjoy it. Luckily for his first mute release, warm leatherette (1978), there was, allowing him to sign the mode - with the rest as they say being history. However, the end of the 80's signaled the end for self flagellation industrial music, as the new sound of techno was enough of a beating for the kids.
Novamute (I will leave an expose of Mute to Mr_no) has been the big Money label for techno musicians - the equivalent of EMI signing you on the basis of your 4 track demos - but they always seems to catch the big names as they are returning back from the high point of their orbit. However Motor, who formed in 2003, have bucked this trend. They are the pairing of Bryan Black, Prince’s sound designer and programmer at the legendry Paisley Park Studios, and Mr No (No, not our very own) a percussionist from Paris. Both settling in London, they met by chance in a Camden club where Mr. No was hammering the drums, a meeting which eventually brought about this amazing release.
This is their second 12" under the Motor guise, although they have also been recording as XLOVER (Giglos) as well as co writing tracks on the latest Felix Da Housecat album. Featuring a drum loop that sounds almost like it its tripping over itself, it doesn’t really do much else rather than pitch shift an arpeggiated synth line, beep out Morse code sound effects and filter some white noise. But what a medley of noise it is! I would rarely go for a track with as little to grasp in it as this one, but something seems to click with me when i listen to it. Love thy machines! Enjoy!
Motor // 12NOMU145Stuka Stunt
More + buy //Mute Records
Dmx Krew - Showroom Dummies
posted by Mr_no @ 12:53 p.m.
Time to revisit an old favourite from the hayday of International Deejay Gigolos. Released as Gigolo 12 in 1998 the flip side is made up of Manekin and Cold Heart Part 2. Side A is split into two parts (happily not seperated but continous) of the Kraftwerk cover.
The first part is a straightforward cover of the 1977 classic, as found on Trans-Europe Express, with vocorder vocals and fantastic analogue synth noises. The drum programming on the track is amazing and really represents what I love about that early Gigolo sound - as best represented by the Champagne! Ep (Gigolo 11) by Miss Kittin and the Hacker esp the track Gratin Dauphinous. The second part of the track is where Ed Dmx takes the template of 'Dummies and then sends it another direction with dancefloor filling results.
The other side of the record is no less exciting. Manekin sets off from where Showroom Dummies finishes, with Japenese vocals and synth swirls keeping this a brilliant reworking that sits alongside the original cover - not in its shade. Cold Heart Part 2 has long been a favourite of mine ever since I first heard it - for me this is the ultimate Gigolos and Dmx Krew sound - an instant classic: crisp, original and melodic.
The Kraftwerk original is like a time capsule containing the best elements of late seventies synth sounds. This has always been my favourite track on Trans-Europe Express - Electro-Pop at its finest.DMX Krew - Showroom Dummies part 1 and 2
Showroom Dummies // GIGOLO 12Kraftwerk - Showroom Dummies
Trans Europe Express // Capitol Records 1977
Tuesday, May 17, 2005
'I've Seen That Face Before' - Grace Jones Remixed by DJ Hell
posted by Mr_no @ 11:27 a.m.
A great release from Gigolos sees Grace Jones' 1981 classic 'I've Seen That Face Before' - from her Nightclubbing album - updated with two fantastic new mixes. The Berlin version is recorded with Jochen Schmalbach and the flipside Vienna mix is done with Patrick Pulsinger.
The Vienna version takes all the elements of the original (except the french accordian part) adds some piano and turns the intensity up to 10. The drums sound great and the bass is heavy and dubby keeping this side closer to the original in spirit.
The Berlin side is my choice - it drops altogether the reggae rythym (provided originally by dub legends Sly & Robbie) keeping only the off kilter synth line and vocals. The replacement electro bass-line is distorted and funky and the extra synth line sounds brilliant. Its kept really simple and I think it really works.
I thought it'd be good to put in the original as well as its fantastic in its own right.I've seen that face before (original)
Nightclubbing // Island // 1981I've seen that face before (Berlin Mix)
I've seen that face before // Giglos // 2005
More //Disco MuseumGiglos
Everybody Knows - Richard Bartz
posted by Mr_no @ 11:05 a.m.
Richard Bartz is back with his own special brand of electro-tech out now on his own label Kurbel. I first got into Bartz via his Gigolo album, Midnight Man - and Everybody Knows does not disappoint. Its dark and filtered but still melodic and very danceable. The track I have chosen from the 12" is Late Night Acid which I think is the strongest track, its funky and extremely dancefloor friendly.
Of the other tracks Everybody Knows has a brilliant bass propelling it with great analogue swirls behind it - whilst Bite The Bullet is a heavy pounding track with acid shrieks and (again) great bass.Late Night Acid
Everybody Knows // Kurbel 031
Monday, May 16, 2005
posted by Charlestonjigger @ 8:43 p.m.
Well seeing as gutterbreakz
have been waxing lyrical about analord recently, I thought I’d throw quickly throw in my two cents (and a lovely mp3). Technical music that sends beard stroking into overdrive does nothing for me, and I see it sometimes as a case of “Emperors new clothes”. If it’s boring, it’s boring; no matter how many DSP chips are involved. That’s why I’m going to have to say my bit that the analord series is something of a return to form for AFX, especially after the disappointment that was drukqs. Ok, it has squelching 303’s and strange intonations all over the place, but it also has fantastic melodies and interesting changes that make it stand out from a lot of experimental ‘electronica’ (read autechre) – which simply just doesn’t hit the mark. I’ve really been enjoying the series, especially 6, because for the first time in a while, there is a selection of music in this area that is pleasing on so many levels.w32.deadcode.a
analord 8 // Rephlex
Empire State Human
posted by Charlestonjigger @ 8:41 p.m.
Sunday, May 15, 2005
posted by Charlestonjigger @ 8:21 p.m.
Dj Sueme is the moniker of Phil Subhead (Right) initially used as a retort to someone he was in debt to before setting off for Japan. Around 1995 he was involved in running the legendary Growth parties in and around Shoreditch, London - held in warehouses cinemas, even a submarine (Usually used for business lunches, it was blagged on the basis of a record signing for future electronic jazz music). Guests included future sound of London, surgeon & Regis, Si Begg and Cristian Vogel - and even respected producers such as James Ruskin would turn up in the off chance they could play. Taking inspiration from Neil Landstrumm, Hawtin and Autechre, Phil, with his Growth partner Jason, started making music in a friend’s studio. Releasing mainly on their own subhead label, they have branched out in other musical directions with sub labels Dotcom, fix and 2CB – all containing great releases in their own right.
However, I don’t know what was done differently with this track, as for me, it is much better realised, and written with a level of detail which I find missing in a lot of their subhead releases. Brilliantly, it contains one of the oldest oldest chord sequences in the book, beautifully sneaking in and bringing sense to it all. Blink and you’ll miss it - amazing, subtle (well in this genre anyway) and well worth a listen (or two!).
Both are still playing live around Europe and are well worth checking out.Shot in the knee
peep ep // dotcom 004
buy + more //distco.co.uk
Monday, May 09, 2005
Vitalic // Ok cowboy
posted by Mr_no @ 7:24 p.m.
It has been four long years since the release of Vitalic's outstanding Poney Ep (Gigolo 69), and now finally his first long player is out. Pascal Arbez-Nicolas has produced an album thats a mix of older already released tracks and newly released material some of which is culled from his amazing live performances. Three of the tracks (Poney Part 1 & 2, La Rock 1) are from the Poney Ep and one and a half (Wooo, Fanfare reprise track Valletta Fanfares) from the later Fanfares Ep (Pias).
The rest of the material is closer in texture to the latter Ep where everything - synths, vocals, drums - is distorted. As heard before on Wooo and the Fanfare track there are a lot of twisted fairground melodies - Vitalic's obsession with the with the circus continues - taken to its extreme in the analogue folk song Polkamatic. There is also change from the Poney style sound in the vocals which are mostly processed machine voices - there is a female voice used (used on My Friend Dario and No Fun) which has been given a name - Brigette.There is also an operatic robot castrato on the track Repair Machines and a great vocorder vocal on The Past. As befits an album there is a interesting change of style in the form of a few electro ballads - Trahison, U and I, The Past - which add a real feel of sincerity which perhaps had been missing on the first two Eps recorded as Vitalic. There are still the big breakdowns and huge kick ins, and the verse/chorus sensibility on the new tracks but the template laid down on the earlier releases has been surpassed. There are some lovely filtered vocals and melancholic sweetness supplied by wonderful analogue synth washes.
I have chosen Trahison as it really fleshes out something that had only been glimpsed in moments of previous material eg the 'chorus' section of You Prefer Cocaine (missing from the album), or the remix of The Hackers Fadin Away recorded as alter-ego Dima. The next track (and next chronologically on the album) is Newman which I think gives the other side of the new material as a live favourite polished up but which still has a fantastic distorted bass-line powering it.newmantrahison
Ok_Cowboy // Different
Sunday, May 01, 2005
sugar experiment station
posted by Charlestonjigger @ 4:39 p.m.
Sugar Experiment Station are Neil Landstrumm and Tobias Schmidt, both highly respected producers in their own right that have been instrumental in creating and shaping the ‘wonky’ techno sound. They were part of the Sativa club Edinburgh, circa 1994 which marked the beginning for both of their musical careers. This led to releases on Tresor, Peacefrog and Sativae; as well as on their own labels Nest and Scandanavia. Pretty much, these guys are the dons, constantly innovating and creating new sounds at the height of the techno boom of the late 90’s, and because of this they should take pride of place in any self-respecting record collection.
And the track? An oldie but a goodie! I first heard this one at a party and it instantly caught my ear so much that I had to go and ask the dj what the hell it was. Sludgy noise and melodic ride cymbol beats that make way for a bass melody that sounds like a violent nurse pressing down on your left temporal lobe with a giant electrode. Which can be good or bad, depending on your outlook on life…
SES // SCAN008CD
Wednesday, April 27, 2005
posted by Charlestonjigger @ 8:55 p.m.
Marcin Czubala, probably the best cultural export from poland since JP II (RIP) - or at least the best on the ivories. A classically trained graduate from Kurczewski's music school in Poznan, he keeps releasing records that will not conform to the minimal, aggressive, techno-gravy train aesthetic that I am astounded still even exists. This track in particular is a stand out one for me because the structure and melody is built up and introduced in a very traditional songwriting manner, and would remain completely oblivious if it was heard as part of a mix in an club - although that’s not to say that that would be a bad way to listen either. Now where did I leave that glow stick...? That’s right - the bin.
Orville EP//NH 23