Marlena Shaw – Woman of the Ghetto EP (Catz ‘N Dogz Remix) [Pets Recordings]

I Want You To Get Together

Catz ‘N Dogz (Grzegorz Demiañczuk and Wojciech Tarañczuk) take over this iconic vocal live sample to officially honor American jazz, blues, soul singer Marlena Shaw. The three-tracks EP will be out on August 25 through their imprint, Pets Recordings.

Premiered by BBC Radio 1 DJs Pete Tong and Annie Mac, it’s a surprise summer track. It’s the kind to be on that list of titles that update old sounds for a purpose, as well as Bedouin will drop Pink Floyd’s “Set The Controls For The Heart Of The Sun” on the same date. It’s another suggestion what Berlin based Polish duo have done with the original material though. Instead of a recreational cover, they take the vocal sample to a current techno deep house beat from where suddenly rumps an acid straight line. As simple as it has ignited every track, remix and DJ set that has used it throughout these years, more than two decades. But, this time, in full credit. A second version goes for the Afrobeat percussion inspired and developed from the back then stage performance.

Originally included on her second studio album “The Spice Of Life,” the last she released for Chess’ subsidiary Cadet Records in 1969, ‘Woman Of The Ghetto’ got a live version on July 5, 1973, at Montreux Jazz Festival. The recorded performance hit the shelves a few months later as “Marlena Shaw/Live: Cooking With Blue Note At Montreux”. The moody spoken introduction to the song became house music’s legacy. The line hit with Blue Boy’s “Remember Me (Pharm, 1997) and peaked with ‘Rose Rouge,’ on St. Germain’s album “Tourist” (Blue Note, 2000).

It is by way of tribute not only to Marlena Shaw herself but for a generation that grew in the 90s; a period trended on the so-called rare groove scene. At the end of the 60s, she occasionally ventured in soul charts, right after being the vocal counterpart for Jazz giants like Cannonball Adderley and Ramsey Lewis Trio. Splitting from Cadet Records, she worked periodically with Count Basie until she signed for Blue Note in 1972 to build a solid recording career. She left some gems on the way, and diggers were aware. As it happened with ‘California Soul,’ with Diplo’s remix featured on volume 4 of the “Verve Remixed” compilation series, now it’s time to recognize officially to Marlena Shaw for the famous inviting phrase on the “Woman Of The Ghetto” introduction line in a remix.

Hivernacle Pop Up Club: #1 Halloween Special Night

No trick for the treat

Autumn is here, and Hivernacle Pop Up second edition’s bill is back to renew this ephemeral idea of a club, always hot, with full parties of envolving sound and visuals. This three-part series event will take place through each of the resting months of the year under a transparent plastic greenhouse set at Plaça Major in Poble Espanyol (Barcelona).

The first will be on October 28, tagged as #1 Halloween Special Night, with legendary Derrick May heading the line-up along two females DJs and producers like french born Berlin based Bloody Mary (a.k.a Marjorie Migliaccio) and Ukranian IVA (a.k.a Anastasia Topolskaia). Two locals will round it up, Eduardo de la Calle, with his techno based in everything and everybody, is physics particle vibrations, and the Argentinian based in Barcelona, Fede Zerdán. He will open at 10 p.m., and May will close from 2 a.m. until 4 a.m. The night will lighten up with lots of jack-O’-lanterns and beat pulses of Techno.

Having Derrick May (“Innovator”) on the decks is having a monster of pioneering Detroit Techno. He is one-third of the legendary bunch of visionaries commonly known as “Belleville Three,” along with his musical mentor Juan Atkins (“Godfather of Techno”) and collaborator Kevin Saunderson (“Elevator”), now on the road again as collaborative effort since Coachella 2017. Back in the early ’80s, these three were high-school kids. Atkins introduced to May and Saunderson in stuff as diverse as from Kraftwerk to Yellow Magic Orchestra, Depeche Mode, The B-52’s and Prince, including extensive and intense listening through Bootsy Collins, George Clinton’s Funkadelic, and Parliament material.

This mixture of Europhilia and weird shit that was decisive for the sound that represents May in one third through his three-decades-long career, from first steps as Deep Space Soundworks (with Atkins) to the singles signed as Rythim is Rythim. He is part-responsible for taking Techno back to its cradle, to the spirit of the city which gave it birth, after the massive impact on the other side, in the always receptiveness for innovative European shores, especially in the UK where it crossed into the pop charts in the late eighties. It was a round trip for good, recapturing some lost soul, by the way helping to make a difference from Chicago House. A set that predicts some healthy perspective in time from foundation’s drops.

D.A.F. – Das Ist DAF (Grönland Records)

A myth, back in vinyl

Grönland Records has released a Deutsch Amerikanische Freundschaft (D.A.F.) compilation, containing their four seminal albums accompanied by the extra material of new recordings and remixes. It is the rise of the German act formed in Düsseldorf as a band in 1978 and moved to London in 1980. A period in which they became a duo and one the European precursors of techno, pioneers of EBM, a secure entry for the Industrial music and an edgy representative of the art-punk by 1982, featuring Gabriel “Gabi” Delgado-López (vocals) and Robert Görl (drums, percussion, electronic instruments).

“Das Ist DAF” reissues in vinyl the four albums released in a short time span of eighteen months between 1980 and 1982, unavailable in this format since the ’80s. The Deluxe 5LP Box Set includes “Die Kleinen Und Die Bösen,” (Mute, 1980) and so-called “The Virgin Trilogy,” that is to say “Alles Ist Gut” and “Gold Und Liebe,” both released in 1981, and “Für Immer” (1982). Alongside it comes a 12-inch with remixes by Giorgio Moroder and Boyz Noise and a 7-inch with two previously unreleased songs, plus all the goodies expected in a set like this, from lush booklet to poster, original D.A.F card, slipmat and download code.

Like every retrospective, this one serves to memory and dignifies the singularity of a band to call it influential. Approaching the 40th anniversary of formation, D.A.F. is related to the late seventies and the early eighties, a challenging time when everything was about to be transformed in new conventions. Everybody was moving to other places where to grow with new ideas, and some musicians left guitars away to plug into new devices.

“Das Ist DAF” offers a part of that move. It is a musical portrait of a band that made an artistic an physical journey coming from Düsseldorf, the unassumed Mecca of German futurist and avant-garde music since the late ’60s when Krautrock licensed itself from Progressive with electronic treatment in a motorik pattern. From the early seventies, Düsseldorf was the place to go for refreshing and daring new ideas. Just to mention the famous, David Bowie and Iggy Pop were in the city before moving to Berlin. Brian Eno collaborated with Harmonia as a previous step to concentrate later in Bowie’s “Berlin Trilogy” albums.

D.A.F. is Düsseldorf to the bone, like Kraftwerk and Neu!, but, contrarily, they had spread ears to the UK post-punk. They were part of a bunch of a scaping mover from what they considered established (Kraftwerk) or the old (Neu!). D.A.F. is undoubtedly Düsseldorf but belongs to the edgiest side of it, the one it opened the Ratinger Hof in 1975. It was the headquarters of a new generation of punks acts, where D.A.F as well Die Krupps, La Düsseldorf and Der Plan all started to become part of “Neue Deutsche Welle.” At the time of its opening, Kraftwerk was breaking up in the USA with “Autobahn” (1974) and “Radio-Activity,” (1975). They were bound to stardom and writing a new chapter to conceptualize in the musical history. In the meantime, Suicide (Alan Vega and Martin Rev), the American correspondent to D.A.F. concerning the synth-pop duo’ forefront aesthetics, was looking for its place of understanding going from rioting show to another, from Mercer Arts Center to Max’s Kansas City to CBGB’s.

The “Hof” in Düsseldorf, like the legendary Bowery Club in NYC, was a counterplay. “Hof” bands like D.A.F. were Düsseldorf kids familiarized with the UK explosion of post-punk, from Wire to Siouxie & The Banshees. They sang in German as a sign of affirmation and to break with the English spoken domination of music. They loved the punk attitude, but instead of expressing it in two guitar chords for few spit words they took synths and sequencers to modulate the energy. The first cheap Japanese synths (Yamaha and Korg) came up with a helping hand to the pocket. It was a jump, an as natural or unnoticed process as immersed they were in the “Zeitgeist,” the backdrop, the musical legacy of the city.

“Ein Produkt der Deutsch-Amerikanischen Freundschaft” (1979), D.A.F.’s first album, was an apocalyptic sum of untitled instrumental tracks though, having vocalist “Gabi” Delgado left the band temporarily. The first ever show of D.A.F at the Ratinger Hof was in February 1979, months before the release of David Bowie’s “Lodger,” the third and his final Berlin albums. The show was no electronics at all but a noise-driven guitar set. That year, Margaret Thatcher began with the neo-liberal era while Joy Division made an impressive step into post-punk with “Unknown Pleasures,” as well as Cabaret Voltaire’s debut, “Mix-Up,” was about to release.

The “virus electronicus” inoculated to the “Neue Deutsche Welle” conglomerate of bands was the birth of the second generation of electronic artists, in this case, drafted in punk. The trend was in the UK creative net already, but the German input’s peculiarities of it did impress the always perceptive British brains for the new. Daniel Miller signed D.A.F. to Mute, and the rest is history.

Along with Kraftwerk, D.A.F. accomplished the challenge of being German singing act in a restrictive music industry dominated by English. The two icy dressed in leather germans were a provocative portrayal of fighting taboos in Genet tradition, and their Nazi imaginary made a staged Teutonic fantasies’ sarcasm model of themselves. Gabriel “Gabi” Delgado López (son of Spaniards immigrants) took his learned German-speaking as a matter of creative. Suspending his sentences off the hammering, precise and guttural German speech with obsessive and repetitive words, he brought the key to a new musical patterns development, wrapped up in sequencers and fitted in a new synth’s regime. Their dour image was pioneering a new way of love songs, punchy social statements, and irony invocations to sex. All this compiled in “Das Ist DAF.”

Mount Kimbie in Barcelona

Go for it!

mount kimbiedef

The British duo is back to the city on Nov 22 to present the album “Love What Survives,” released the first week of September through Warp. The show will take place at The Loft-Razzmatazz 2 as part of RazzLive, the bill to celebrate the 17th Anniversary of the famous Club and inserted on the World Tour for their third studio album. Dominic Maker and Kai Campos will have the support of Marc Pell (Micachu) on drums, and Andrea Balency on vocals and keys to play their new material out. Barcelona audience is fortunate to have them not in a festival environment but in a concert venue, which is the best way to value their challenging music. It is what they did on Dec 13, 2013, at La [2] Apolo, with the previous album ‘Cold Spring Fault Less Youth’ (Warp, 2012), and it is what they are going to do at the end of November with the latest. This one needs the crowded intimacy of a room imperatively.

You have to go to listen to this. It is an album, but mostly it is a renewed statement: to install a signature melt of synthetic and organic sound for the 21st-century musical spectrum, emotively and deeply rooted in an idiosyncratic London. We all have to go back in time to assume that, but they are working on it since the beginning when they transfigured synthetic and arranged a meeting with the organic for a surprise. Both strands are coiling around each other in Mount Kimbie’s musical DNA, shaping separately but not yet culminated as a whole, waiting for the perfect match. “Love What Survives” is not, but they are on the way.

You can dance to “Love What Survives,” if you are an introspective dancer, but it is far away from a dance record in the primary sense. It is electronic with no doubt but also has electric guitars, piano, drums and gospel touches of an organ on the instrumentation. The album winks to Krautrock styled in a motorik beat. That is valuing an original drum pattern, misunderstood at the time but gaining thousands of followers over the years. They go to the interrupted foundations that taught other constructions to rise. They walk through the streets of London with a recognize sound only a few were able to pave over in wet. They pay homage to some post-punk singularities, going from Joy Division, The Fall and The Cure to the exotic melts of Siouxie & The Banshees or The Creatures, where vintage synthesizers like Korg MS-20 and Korg Delta do the job, and even has post-rock developments in the way Stereolab did.

The title of the opening track, “Four Years And One day” is almost the time lapse between the release of the second album and the third, but looks like a criminal sentence for committing adventurous and confounding expectations. Since 2009, with their early EPs on Hotflush, ‘Maybes’ and ‘Sketch On Glass,’ they took dubstep beyond to debuting LP ‘Crooks & Lovers’ (Hotflush, 2010), and they were the new exploratory thing in electronica, and future garage. Next step was ‘Cold Spring Fault Less Youth,’ a daring test for nuances between club music and more song-oriented work that left them in the state of unconcluded pursue.

The fact is that “Four Years And One Day” is remodeling time and sounds with a purpose in a Kosmiche key. It is a defying bet, picking up ideas and orientations sketched in the past for letting them ring a decision, to fit together and conjugate in the present tense. It drags the experience of all these years since they irrupted in the UK dubstep scene to forge their micro-genre. They are looking for another “post-,” and they go for it. To do so, Mount Kimbie connects emotively with a peculiar musical past, to some episodes belonging to memory. All of them were singular and over-passed by time and circumstances, a glorious resound that many artists recaptured for its relevance along the past decades.

Furthermore, Mount Kimbie invites friends and collaborators that helped them in their musical journey. With two tracks, “We Go Home Together” and “How We Got By,” longtime colleague James Blake brings back to the album what Mount Kimbie offered him, a platform to endorse a vocal talent. Archy Marshall (King Krule) reinforces with “Blue Train Lines” what he pointed in two tracks of ‘Cold Spring Fault Less Youth’ (Warp, 2012). Micachu debuted the same year the British duo did, but Mica Levi’s vocals on “Marylin” has more to say to the proposal than this circumstantial connection, with one of the album’s highlights. Added to the conclusion is talented Londoner, with a French-Mexican background, Andrea Balency who gives confidence to the bet with “You Look Certain (I’m Not Sure).” By the way, “T.A.M.E.D. (Think About Me Every Day)” it is conclusion itself, made out of a song. Instrumentals on the album are saying how they loved being bedroom-producers to become new synthesis creators.

“Post” is a time particle that goes along Mount Kimbie’s career. They are still “Post-everything” in the sense of being unexpected, untaggable. They have always been on the run, avoiding being captured, beyond any classification at least provoking the creation of new ones to fit them. Moreover, “Love What Survives” has intentions to do so.

Burial – Rodent (Hyperdub)

Promising New

Promising New

The UK producer has released the 10-inch vinyl of his new track on Hyperdub backed with a label boss’ Kode9 Remix. Preceded by the digital edition, available to download from mid-September, the physical format hits the shelves at the beginning of Autumn season.

In a way, “Rodent” is a surprise, though it participates of all elements we recognize since Burial came with “Untrue,” ten years ago. We got what we expect, his always distinctive cinematic, concerning and reflexive descriptions due to score midnight on city street views. It helps to be a Londoner, but everybody knows there’s a place that sounds like that wherever you do the hooded walking.

It comes from a place left behind and transformed. It gets the picture of deserting neighborhoods in vacant buildings with windows and doors walled up, urban nightlands echoing the emptiness of what it was in a look back. “Hey” sounds like a close-up for attention; same breaths hit the ground; horn samples break as forgotten coma punctuation in the story, while archangelical chorus flies over 90’s ambient jungle oblivion. Bassline takes us back in time to a basement club where the formative 2-step garage was growing.

But “Rodent” is surprising because instead of being an abstract proposal to fit a thought into the ghostly dark side, it is focused, even propulsive in deep garage house. It promises something new, leaving a moving trace of change. An R&B vocal sample does the job. A sentence like “What would I do without you?” is tech-treated as parts, rolling together in a random mode to configure an unprecise but envolving mantra, resembling an Adham’s calling. That’s full-stop for further considerations.

On the reverse, Kode9 remixes the original turning its fragmented vocal sample into a frantic “on looping”-“I do it” footwork, one of the cornerstones with he built “Nothing” album in 2015, dedicated to Spaceape (Stephen Samuel Gordon) memory. It has nothing to do with Burial’s piece, which proves how different are the ways both artists have chosen to evolute from their common roots.

We wait for William Emmanuel Bevan (a.k.a Burial)’ new material at the end of the year, as he did with “Truant/Rough Sleeper”(2012); “Rival Dealer,” (2013) and “Young Death/Nightmarket” (2016). This time, Burial kept a consistent pace of releases. In April he added a remix for the “Inner City Life (2017 Rebuild)”, reconsidering Goldie’s seminal track from 1994 album debut “Timeless.” He followed the ambient atmosphere of “Young Death” with single “Subtemple/Beachfires,” appeared in May. Unexpected was the July smokier take from Mønic (Simon Shreeve)’ “Deep Summer,” celebrating the 50th reference of Osiris imprint. Now, it’s Autumn, and we have a promising new Burial.

Oneohtrix Point Never – Good Time OST [Warp]

Bail The Incarcerated

Bail Out The Incarcerated

‘Good Time. Original Motion Picture Soundtrack’ is out through Warp Records, as the movie arrives in the USA theaters.

Preceded by Soundtrack Award at this year’s Cannes Film Festival, Oneohtrix Point Never (Daniel Lopatin) releases the thirteen tracks of his original score for the film directed by brothers Ben and Joshua Safdie. ‘Good Time’ is a crime thriller starring actor Robert Pattison (as Constantine ‘Connie’ Nikas) who tries to bail his brother (Benny Safdie as Nick Nikas) out of prison following a bank robbery. Casting completes with Taliah Webster, Barkhad Abi, and acclaimed actress Jennifer Jason Leigh.

The first advanced track was ‘The Pure And The Damned,’ a singular take on the score that gave an impressive baritone emotive core by Iggy Pop’s featured vocals. But the real tone of the OST came weeks later with ‘Never Leaving The Park.’ A synth loop connected with an ambiance nuance plugged on Krautrock keyboards effects like Edgar Froese would do. As we go further in the listening, it gets more involved in way back sounds with arpeggiated lines of synths and an apparent predisposition to make way for flavoring progressive rock mode Steve Hillage. By the way, there’s music descriptional glow related to some well-remembered sci-fi titles like ‘Blade Runner’ and ‘Terminator,’ which is to say, Vangelis and Brad Fiedel. Few industrial thumps, finely chopped over melodies, hints of the peculiar way synth-pop electro that ruled some 80’s TV series bring up ‘Miami Vice Theme’ resound, snatches of film dialogue and recognizable field sound from NYC enriches for the rest the whole thing. But all this going backward material is intentional and has a purpose.

There are two ways of scoring a film: music narrative mirrors the action or creates one that works divergently, in a contrasted way. The latter is the most difficult; it implies known references to be efficient and some implication from the audience to get the right plugs to be connected. If it accomplished, it’s rightful. ONT did it this way.

First of all, ‘Good Time’s goes back to the Massachusetts producer early work, the time of the trilogy he released on cassette and CD-R. He worked on synthesizers music and commonly 80s new age themes and devices to make albums like ‘Betrayed In The Octagon’ (2007, Deception Island), ‘Zones without people’ (2009, Arbor) and ‘Russian Mind’ (2009, No Fun). He got the ideas, but tech tools weren’t as advanced as now. He’s feeling liberated from that imprisoned frustration to come back to that works with the appropriate tech level and upgraded skills.

‘Good Time’s cinematography tends to capture a parallel site for the psychological thriller. The action goes in a rush of street runnings, art-designed close-ups like television trash sequences, everything immersed in jail fights and drug culture. This factual tension has a witness that speaks for itself aside, out of focus, in any given shot. It’s a luminescent presence along weird sounds that make NYC streets a sci-fi environment suggested by music.

But most of all, Safdie brothers new movie pays homage to those anti-hero films of the 70s, from ‘Mean Streets’ to ‘Dog Day Afternoon’ to name a few. Characters defining a spiral down to hell with every of their decisions taken. At this point, it matters to remember where the long guitar solos did go as well as prog rock and where the stubborn German electronic pioneers had to stop, except Kraftwerk. Everything is up and for good in Oneohtrix Point Never score.

After seven albums of shape-shifting electronics, ‘Good Time’ is the fourth score composed by Oneohtrix Point Never, the first for Sadfie brother’s filmography. He debuted in film-score in 2007 with a short film by Justin Lerner, followed by ‘The Bling Ring,’ film directed by Sofia Coppola in 2013 (scored with Brian Keitzell) and ‘The Partisan,’ by Ariel Kleiman in 2015.

Pump The Volume : 30 years of a Milestone

Pop went the house

On August 3rd, 1987, 4AD released this breaking ground track as a 7″ and 12″ single credited to recording act called M/A/R/R/S for the sake of UK Acid house and sampling music development.

The promotion sheet described the single: ‘We’ve used a lot of rhythms and time signatures from old records, classic soul records, but mixed with modern electronic instruments and A.R. Kane guitar sound.’

Originally, the record was anonymous white label mailed to the 500 most influential clubs and dance DJs so that it received exposure six weeks before its official release. A standard process in the musical record industry that fed an immediate response on the dance floor, as repetitive as ‘Pump Up The Volume’ shouting was asking for a name. The real impact came weeks after of releasing its stock version, on the double A 12″ with the added scratches and samples by UK champion scratch mixer C.J. Mackintosh and London disc jockey/journalist Dave Dorrell. It was something new, energy at once, powered by a ‘mix-and-match trickster spirit’ as DJ Rapture would say. More than a regular promo it was an exploratory artifact with a mission: cutting edge should be a reach from the few for the people. Before giving reasons to that idealistic thought, just to remember M/A/R/R/S was an acronym, formed by the forenames of the people involved in the project, all members of two 4AD bands, Colourbox and A.R. Kane. Corresponding to the slash separated initials, in order. First M/ was for Martyn Young from Colourbox. /A was for Alex Ayuli and /R for Rudy Tambala, both A.R. Kane members. Following doubled /R went for Russell Smith (an associate A.R. Kane member), and finally /S for Steve Young, founder member with brother Martyn of Colourbox, who died July 13th, 2016.

It was a factual proof that everything is possible with the honesty of the right proposals, courage for a dared aim and sensibility to presume what is society impelled to say for transformation, even unknowing it shouts for it for so long. ‘Pump Up The Volume’ was a euphoric and straight answer for the demanding. It’s a work of art what we have here, a celebration for a maverick one-hit-wonder that gave us a glorious propelling sound to believe. Nothing was sacred anymore. A precedent that overthrown elite barriers down. The avant-garde was on the radio. It was a stand-up, and one-off was enough. Never there was a follow-up, but a myriad of followers.

The international smash-hit had many difficulties in the making. Electronic group Colourbox and alternative rock band A.R. Kane were dissimilar in styles but were able to propose the same thing by separate ways. The joint-venture created in different studios catch producer John Fryer in the middle but led to happy end by 4AD label founder Ivo Watts-Russell. He smoothed down any disagreement in a Solomonic way, giving creativeness parts to everyone and reinforcing the prospective idea that innovative American house could play the central role in a commercially oriented dance record. ‘Pump Up The Volume’ has the honor to write ‘commercial’ with no blame.

When Chicago/Detroit house pioneers admitted they had been fascinated to listen to British acts on the radio like Human League, Depeche Mode, Ultravox to name a few, they had to go to the import record stores to get their copies. They bought synthesizers, drum-machines, bassline-synthesizers to emulate that primarily electronic sound. They were asking themselves what I can do with this disco/funk/soul record on the turntable to stretch what I have in mind. They weren’t aware but work out a new genre in the try, delivered it on a repetitive 4/4 beat to an added off-beat hi-hat cymbals.

On the other side of the Atlantic, artifact M/A/R/R/S took over that advanced way of making music only British can do; the way always has done since the time of rock and roll. Take what other’s creation is and transform it into something of their own. As American house music grew as the pattern for innovation recreated and tagged in several distinctions to the limits of experimental for the few, ‘Pump Up The Volume’ emerges as the British-made house hit for everyone, marking a turning-point to the popularity of the genre. Its secret is popping the known things up over an unfamiliar rhythm structure. The first is a peak on the art of sampling; the second is the talent to share what is at the forefront in understanding terms. Pop went the house.