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.”

Loleatta Holloway – Stand Up (Pangaea’s Mix)

A Moving Highlight of 2017

Salsoul Records officially release the Pangaea’s mix of “Stand Up,” a rendition to Loleatta Holloway. Good news for those who missed the White Label 12-inch from Hessle Audio’s member that came out in early August as “Devotion 17” through Hadal and packaged with an edit of Nomad’s ‘Devotion’ on the A-side. It has been doing the rounds since, either as a soulful play on the radio or a signing DJ moment in sets. The flip-side is about to remember the leading ’70s disco diva from Chicago. A classic revisited that went sold out. A moving highlight of the year is now available.

Kevin McAuley (a.k.a. Pangaea) approaches to Loleatta Holloway’s classic with reverence bringing up a bit of suspense. It takes a minute and a few seconds before her full-bodied gospelized vocals irrupt in tremendous energy. If you have forgotten this is a re-edit, heavy-bass points the intro to clarify what you are about to listen is a respectful time capsule from current sound perspective. He compassed a nitid way that belongs to the tradition of UK bass artists, bearing his dubstep signature credited from the beginning in 2007 all through his career to “In Drum Play,” his debut in the album format back in 2016. If there were hard-hitting percussions, this time around Pangaea flourishes an in-out Brazilian-style percussion loop to reach Loleatta’s soulful and timeless workout.

All the Loleatta’s whoops and shouts come from an acapella, the breaking part of ‘Dreaming,’ a song included in the album “Loleatta” (Gold Mine Records, 1976). Like the original, the re-edit placed her in a central position. She is the meaning of the track, flanked by stripped-back rhythm from both sides, at the beginning and the end and contrasting with the tech-treated reimaging speech in the middle. Sparse and minimalistic beat that acts elliptically, like the omission parts of a sentence or a statement, a sequence of dots for the updating.

Pangaea’s rework makes me think of the origin of House music where re-edits created new versions of soul and funk classics in reel-to-reel tape to play differently every day. Those that distinguished the dance-floor sound of Music Box from the one in Power Plant, the two Chicagoan clubs fronted by Ron Hardy and Frankie Knuckles respectively. Those pioneers shared almost nothing in music style but friendship and Loleatta Holloway in their respective charts.