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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.

Kölsch at RazzClub (Razzmatazz)

A promising “Testing new stuff”

Kölsch comes back to Barcelona with resonances of a perfect year. 2017 threw all the glitter over his stardom’ shadow, felt as an induced glow over the dark stillness of his appearance artwork. Always sliding from the ones’ perception he shifts to the mainstream and from the others who appreciate the qualities he injected into the underground, the half-Danish, half-Irish DJ, and producer turns to both with a bright naughty look like saying: “I do what I feel.” That is the point, and it is enough for the writer to enjoy his session this Saturday, March 10th, at RazzClub, one of the five rooms at Razzmatazz.

He will be on the decks a week before his latest remix hit the selves. A horizon melody over a strict early drum N bass pattern and groove bassline he turned into a rhythm artifact for the glory of Damon Albarn‘s chant and the fading echoes of classic UK rave sake. His contribution to “Saying,” a track from the acclaimed “My Heart” album by Nic Fanciulli, with whom Kölsch played alongside weekly throughout last summer at Hï Ibiza. His Facebook announces a promising “Testing new stuff.”

He steps like this in 2018′ solid ground after rounding up his autobiographical trilogy served through years in the full-length format with the last “1989” in grey, complementary to the teenagery memories of “1983” and the debut with “1977,” five years ago, giving the anthemic ‘Grey.’ All this stuff, all these uncomplexed string arrangements enriching his techno foundations would not have been possible without the empathy of Kompakt Records, the legendary Cologne-based imprint who did believe in him.

In 2010, Michael Mayer invited Rune Reilly Kölsch to express otherways than the dominant so-called Ketamine House at the time, and bring Ink And Needle (with Johannes Torpe) to Kompakt. It was the right place indeed. The home of Ambient, and Minimal Techno, thanks to Gas (Wolfgang Voigt), a territory for openminded artists daring to do something else as expected. Then Kölsch was Rune RK, the one who smashed with ‘Calabria‘ in July 2003. Immersed since then in different recording projects through the 00’, running labels like Arti Farti or Tatoo Recordings and releasing under the cited moniker but also as Ink & Needle (with his half-brother Johannes Torpe) without forgetting Artifical Funk among others.

On October 18th, 2010, under his definitive artistic name, Kölsch released the 12-inch ‘Loreley,‘ corresponding to #68 of the famous Speicher series, a defining fineness from Kompakt, the German record label founded by Wolfgang Voigt, Michael Mayer, and Jürgen Paape. The Icelander affiliate Gus Gus ask him for a remix of ‘Deep Inside,’ and his personal touch of deep emotional Techno began in demand. The rest is a growing list of high rated names, from Coldplay and Deadmou5 to Eric Prydz and The Chemical Brothers, with a regular criterium of selective ventures for the artistic interest, which went to put his name beside andHim, Paul Kalkbrenner or Damian Lazarus & The Ancient Moons. What he gave to Flume‘s ‘Take A Chance (feat. Little Dragon)‘ and mostly to London Grammar‘s ‘Hell To The Liars’ is musical history. He is one of the talented producers, few of the accomplished craftsman capable of making electronic music the new pop for the 21st Century (in the most broader sense).

The local DJ and producer Baldo will open the night for the Kölsch set. The Vintage synth-loving L.A. producer Seth Haley (a.k.a. Com Truise) will be in the neighbor room, The Loft, with his latest album,”Iteration,” in the case. Everything is starting at 1 am.

“Hound5tooth EST. 2013” V/A Compilation

Go for it, be splendid as they are in music and concept!

Houndstooth celebrates five years releasing electronic music with a free ‘Pay What You Like’ 15 track compilation, “showcasing label classics next to rarities and unreleased gems from associates old and new.” The in-house venture from fabric, the famous London nightclub, operates as a conventional record label since February 2013, growing steadily from the first release, “The Present Tense,” by Call Super. Resident Advisor qualified it at the time as “one of this year’s best new label.” It runs by A&R Rob Booth (Electronic Explorations) integrated into parallel Fabric Records‘ staff formed by Leo Belchetz and Rob Butterworth (label manager and director, respectively), noticing the latter takes care of fabric’s long-running mix CD series. “Hound5tooth EST. 2013” is available now on the label’s Bandcamp.

This new release adds an artists’ label profile to its previous digital-only 5th-anniversary compilation, “In Death’s Dream Kingdom,” appeared at the end of January. This title takes a phrase of 1925 T.S. Eliot‘s poem “The Hollow Men,” contributed by twenty-five acts out of its roster inspired by the famous verses of the universal poet of Modernism’s epitome. A poem that speaks for the lost souls of a generation, the ones who fought in WWI and faced death on the battlefield and saw the ideals of humanism’s freedom crumbling down. The club fabric London’s offshoot label gave a reflexive insert to document the dark signs of this time in its language; almost shut down. I guess everything has a reason. Reasons (in plural). Better work out on label’s name, Houndstooth, for the creative side, the very British sense of taking old patterns interlaced for the colored new. Diversity is moving hope calling for everyone. Celebrate we keep on, very outgoing!

Nicolas Jaar: “Sirens” Deluxe Edition – [Other People]

Deluxe piece of information

Coin in Nine Hands is more than a welcomed addition to the Deluxe release/reissue of Nicolas Jaar’s 2016 record Sirens, out today in digital format through Other People. Permission for daring it sounds like it is the track that traces all the way back to the starting point, from where everything came to result in one of the last year’s outstanding album. This is what Nicolas tweeted about the release.

Code Inconnu/Uknown Code is a film made in 2000 by Martin Haneke about unperceived interconnections among people. Taking Margarite Yourcenar novel’s title of the mid-thirties, Coin In Nine Hands is a downtempo number with unexpected turns modulating a thoughtful spoken words piece inspired on sight, somewhere in the Persian Gulf under the overwhelming heat. We got the same drying Nature force that deserted all, even a whole sea, under the skin or in the back of our mind. From outside looking in, a waived part of human nature confronts the rational illusion of freedom and understanding against the Leviathan as described by philosopher Thomas Hobbes, the unstoppable gaining force. There’s no fiction in this friction. There are (r: [a:]) victims for the difference. Memories of the political history of Chile goes with Víctor Jara, and the erosion keeps gradually melting away names like Egyptian photojournalist Mahmoud Abu Zeid (Shawkan), sentenced to death for taking pictures of the street protests in Cairo, or blogger Rafi Badawi, activist pro-human rights in Saudi Arabia, lashed for his words. There’s awareness in using proper name Potemkin, not only in the sense of rebellion, dramatized in the legendary film by Sergei Eisenstein in 1925, but mostly in the sense of Potemkin village. Developed by Grigory Potemkin, during the annexation of Crimea from the Ottoman Empire, the minister of Empress Catalina II decided to create fake constructions made up of the ruins in an appearance of wealthy normality. A concept that made a fortune run in political rhetoric, to deceive others that the situation is better than it is.

With this piece of information, it is easy to understand the conceptual leap Jaar had to afford from eclectic and critically acclaimed first album, Space Is Only Noise (Circus, 2011), to the defiant ideas involving the sophomore, Sirens. From being a successful producer to become a composer in the true meaning of a musician who creates an own discursive work. Those conscious thoughts needed a reclusive place to flourish. A Manhattan apartment in the shades, concentrating on the daily home surrounding sounds accompanying the immersive reflection.

It’s when Sirens becomes an electronic suite full of contrast, and subtle turns in rich nuances – which are technical skills –, with sonic elements of magic realism as memory recall of childhood. This is a literary tag that helps to describe a reflexive, intimate and questioning universe of his own, that the artist observes from a shady and recluded intimacy, away from the luminous intensity of the sirens chants coming from Time Square. There is Erik Satie piano resonance meeting Ryuichi Sakamoto template, as a rational illusion of order is unable to veil the algorithmic intelligence that reigns, the hard steps of affirmative over the opposition. There’s choosing toys to grow, inculcated promises for the disbelieving. There is the father… But Sirens also has a chapter for hope. At least for the voices of opposition that gave and procure now the other ways. It is a heartfelt rendition to the outside, to the city that welcomed to anyone from misfortune or incomprehension to grow in richness melt, from the corners of the improvised doo-wop to the radical Lydia Lunch and the devoted admiration for no wave duo Suicide.

Of course, Sirens is a politically charged album. The release of Coin In Nine Hands gives a cue for the first steps in the process of its creation. By the way, it explains what intuition supposed about the inclusion of a nickel coin, cased in a plastic outer sleeve over a white scratch-off ink cover from the first Deluxe edition of the album, released October 14, 2016, fifteen days after the digital format was available to download.

In music, the importance of an album takes value from the listener, but the record industry also has parameters as the number of versions that comes out from the original with the extra unheard material besides. Collectors and artists’ followers take care of these variations. It is worthwhile information. Wildflower was already in the first Deluxe edition, as well as Mirrors and the title track, Sirens. Wildflower also appeared in the Japan original edition. Now, Wildflower belongs to the new Deluxe release/reissue of Sirens as a digital option, along with principle Coin In Nine Hands and America!/ I’m for the birds. Asking for the vinyl, full coin-scratched cover? With reordered titles and leaving out the title track.

 

DJ Taye announces debut album, “Still trippin’,” with ‘Get It Jukin’ (feat. Chuck Inglish)’ – [Hyperdub]

Growing on footwork

Chicago born footwork producer Dante Sanders (a.k.a DJ Taye) gets rapper Chuck Inglish on ‘Get It Jukin’,’ the advanced track for his debut full-length album “Still Trippin‘,” due to release March 2nd as the first 2018’ LP from Hyperdub.

Using 100% essence of footwork template’s drum programming, the Chicagoan has the tasty ability to integrate it in a melodic and cinematic synth line where Chuck Inglish’s descriptive verses reign. It’s dark but situational, a walk with a direction to, stepping the loaded Teklife‘s legacy into a new zone of songwriting, forcing and adapting the code in an open bracket, not for itself expression but to enrich in connecting others.

DJ Taye is a producer but can rap and sing, MCing talents that revert on his first album. The sixteen tracks also feature a range of guests rappers, vocalists, instrumentalists and assistant producers. From mentioned Chuck Inglish, a former member of Detroit duo the Cool Kids for advanced ‘Get It Jukin” to Jersey club queen, UNiiQU3, who offers production and rapping on ‘Gimme Some Mo.’ Odil Myrtil, a young vocalist from Montreal, takes ‘Same Sound’ to a souled atmosphere. Fabi Reyna, the editor of celebrated “She Shred” magazine, plays bass guitar and rhythm guitar on ‘I Don’t Know.’ Teklife members DJ PayPal and DJ Manny assist in some of the tracks, and DJ Lucky is a guest MC on ‘Smokeout.’

The youngest affiliate of Teklife Crew is a generation younger than the founders DJ Rashad and DJ Spinn. He was a rapper and a beat maker before joining the legendary collective in 2010. DJ Taye was introduced to footwork in 2007 and began to produce his own tracks which appeared in several digital releases and mix sessions. In 2014 Hyperdub took on him contributing in two of its compilations with ‘Get Em Up’ to “10.1” (2014) and ‘The Matrixx,’ along with DJ Manny, for “Next Life” (2015). Signed to Kode9‘s label, he released two EPs: “Break It Down” (2015) and “Move Out” (2016).

Now it’s time for debuting in the full-length format. As DJ Taye expressed, “Still trippin‘” takes Rashad’s passing in 2014 as the unlikely catalyzer for developing the sounds and ideas for the album: “When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something…make something brand new.” Adding, “I took this as an opportunity to not have boundaries with footwork. Different approaches to our ‘underground’ sound to make it broader. It’s only underground until it crosses that threshold.”

Suicide debut album: December 1977

Rock and electronics clashed forever

It is December, and here is an unforgettable drop in a peculiar Advent calendar for those who believe in synthpop, those who celebrate Kraftwerk divinity and Their sons and daughters on earth. With no intentions of being unrespectful or irreverent, on the December’s unprecise date of 1977, forty years ago, Suicide released their homonymous debut album on Red Star Records. The Holy Trinity hit NYC’s streets, rock and electronic music clashed to hybridize in spirit forever.

Artist/sculptor Alan Vega and free-jazz keyboardist Martin Rev were abrasive in cold speech since the beginning at Mercer Arts Center in the early 70s, inciting people to confrontation and creating a discord feeling between love and hate, an arty controversy for a few and a joke for the most. Vega (Brooklyn June 23, 1938 – July 16, 2016) created ‘situations’ over the gaining and repetitive Rev’s white-noise. The Velvet Underground got an extension in rhythm machines, primitive synthesizers able to produce a two-note drone. Suicide was groundbreaking electronic proto-punk and anticipating the No Wave scene. They were the artist of the freeform, too adventurous for regular venue’s tolerance; they decided a period of hibernation in 1973. Kraftwerk took USA airwaves by surprise in 1975 as well as the Western World fascinated with the futuristic and robotic sound of their amazing Kling Klang Studio productions.

New York City was swallowing the imported pill of The Sex Pistols in 1977 while ignoring local bands like Richard Hell & The Voivoids from whose staging attitudes and musical contents Malcolm McLaren took notes to restyle in London. Everything had moved from SoHo to Bowery, around CBGB. By the time, Television, The Ramones, Talking Heads, Blondie and Patti Smith had signed to major labels. There were a Lower East Side looks walking in stiletto hills, color treated hair, leather jackets, and sunglasses, in as recognizable aesthetics as uniformized, and all were saying it is all chewed up and processed. The city had lost nerve from thunder. It was the right time and the right place for a milestone. Alan Vega‘s Presleyish vocals were ready to transform Suicide from a performance-project into a recording act, with a defining set of songs in a debut album released through Martin Thau‘ imprint, the ex-manager of New York Dolls, and produced by Craig Leon, responsible for launching The Ramones and Blondie’s careers. “Suicide” is still one of the most original avant-garde music that came out from the city in the epitome of a convulsive decade that shook everything up for good.

On the other side of the Atlantic, in the cradle city of Düsseldorf for electronic music, a move was refusing the ‘old gods’ in venues like Ratinger Hof, home of a new generation of punks acts, like D.A.F, Die Krupps, La Düsseldorf and Der Plan. The so-called ‘Neue Deutsche Welle’ had feedback from London where they attempted to grow in the new effervescent scene of post-punk. All of them were aware of Suicide and their bursts of creativity. Some stepped the industrial wave for European Electro and Techno as the new directions, with Detroit and Chicago on the horizon.

One year far from the opening of Mudd Club in Tribeca -the trashy, full of vacant meat warehouses then, the high rated district now-, signs of a creative counteroffensive emerged. No matter what it was but crudity, a confrontational noise served in rare, pure nihilism, from James Chance & The Contortions to Lydia Lunch through Arto Lindsay‘s DNA and Lounge Lizards. Tagged as ‘No Wave’ got preferences in the funk, jazz, blues, avant-garde to Defunkt rock stereotypes.

You can listen to plenty recognition to Suicide contribution by many other artists, but the latest touchy one is in Nicolas Jaar‘s album “Sirens” (Other People, 2016). From the shades of a Manhattan apartment, ‘The Governor’ talks about pleasant Time Square chants to avoid. It is not only a homage to the duo but NYC creative richness in devoted perspective.

Track # 9 -V/A “Spirits” – (Crosstown Rebels)

One in richness of divergence

Nico Stojan and David Mayer, featuring Jan Blomqvist on vocals, contribute ‘Killing Your Lover’ to the eleven track compilation “Spirits.” DJ/producer and label boss Damian Lazarus describes the new annual compilation series as “a fresh psychedelic journey into the mind” and invites to some Crosstown Rebels and sister label Rebellion resembling artists in relevant respect about music to be one from addition, change matters for the discontinuance, not identicals. Music celebrated as a vibrant and vital key to freedom of thoughts, ideas, opinions. That is the spirit. Take it in plural for the richness of divergence.

Picking up a track like ‘Killing Your Lover’ doubts nothing about the intention to avoid any suspicion of dull ‘spirituality.’ Contrary it is a highlight for its haunting self-minded train of thoughts, a dichotomy obsessive in words, with a refrain ending on a pronunciation try of the particle ‘if,’ reconsidered as a broken vocal cut, a sonic gesture of forgetting.

All wrapped up in perfect house pattern, where percussive intro has the Afro sign of David Mayer’s ‘Movement,’ giving the integrating path to a subtle bass line and increasing vocal sampler. The disruption comes in few piano notes, and a provoked psycho noise that goes to the temples. Then the narratives, by Berlin-based Jan Blomqvist who takes his melancholic vocals to the point of ‘noire’ indifference, as distant as close is spine-chilling.

Check out for more in ritualistic ‘Amaranto /Amaranth,’ by Kowee featuring KnowKontrol; the exotic environment described in Robie Akbal‘s ‘Tavarua;’ the dramatic synth counterparts of Siopis in ‘Be Mine’ featuring Ellbee Bad. Alice Rose takes her Björk’s voice similarities in ‘Another Way,’ a Tech House track by Raw Distant… “Spirits” is available now on Crosstown Rebels. If anytime you have been asking yourself why the Damian Lazarus staged set is everything but prosaic you will get part of the answer in the listening.

Bicep at Nitsa Club (Barcelona)

On the rise

Nitsa and AsTiN name the prestigious Apolo venue for the electronic music on weekends. If one is a referent in the European Club circuit, the anagram suggests the quality of transfer for the other. When you are in, you are part of both, in artistically complementary. On Saturday, November 25, Nitsa Club will welcome Bicep audience. Simultaneously, AsTiN, the newly remodeled La [2] Apolo room, will have dutch duo Weval, Canadian Jessy Lanza and Catalan JMII. Doors will open at thirty minutes past midnight.

2017 is the year of the rise for Bicep (Andy Ferguson and Matt McBriar). The two former schoolmates from Belfast, North Ireland, have now a career of almost a decade. Along it comes a remarkable string of jacking powered house 12-inch and EPs with ‘Visions Of Love” as their starting point in 2012; remixes from Carl Craig to John Talabot, and finally, a self-titled debut full-length album, released the first of September through Ninja Tune. It is the compendium of their musical qualities, belonging to their virtues and attitudes in twelve tracks.

Whereas the three armed-wheel logos stamped now in stardom, what identifies Bicep distinctively is their background of being bloggers first (“Feel my Bicep,” now the name of their imprint). The experience of lacking in resources and digging where nobody cares contributed their ability to put in muscle what it is out of fit or even out of time, considered aside, out of trend, and get the weird thing for good, the rare stuff on the wings of the unexpected. They cued the unappreciated excellence of leftfield disco, searched for electronics oddities and appreciated the rave oldies’ emotive glow. They got the talent to introduce those inputs in their productions, moving people smash after smash. Now we got Bicep’s new dimension, with a myriad of recognizable references that can be 4/4 dancefloor stuff as well as a full ride from impeccable tasters wherever you go out of the club. Expect the forgotten for the better.