Surf City Sunday Club

After six months (6!) without a show I'll be appearing at the freshly minted Open Turntables @ Element. In case you're the only person I know without Facebook, the sickness kicks off at 2pm and runs until 8pm. Or until you stop buying drinks. Whichever comes first.

See you there!

à la Carte

As promised, a new mix is available for download. This mix comes from one of the all-vinyl, turntable workouts I referred to earlier in the week.

Favourites From 2008

With the demise of a number of big distributors, there are those who will undoubtedly refer to 2008 as the year vinyl died. I prefer to think of it as separating the wheat from the chaff. In the future if the track isn’t absolutely top quality, it’s simply not going to see a proper record release, and I’m not sure that’s a bad thing. As it was, there were an awful lot of top-notch tracks that dropped last year. These are ten of my favourites.


Steven Lee & Gaby Dershin – Exit Row (Pirupa & Ruggero Remix) (C2)
Buy it now here or here.
C2 consistently put out quality records from the likes of Danny Howells, DJ Pierre, Eric Prydz, and Steve Angelo. This year, they have two in my top ten and two more that just missed the cut. This collaboration by veteran collaborators (Steven Lee is half of Lee-Cabrera, while Dershin is half of duo Astro & Glyde) features plucked strings over a chugging bassline. The original is good, but the remix is better. By adding another, percussive bassline underneath the original bassline and dispensing with the super-long breakdown, relative unknowns Pirupa & Ruggero make the track that much more propulsive. Whenever my mix needed to gather a bit of steam, this is the record I reached for.


Shed – Warped Mind (Ostgut Ton)
Buy it now here or here.
2008 will also be known as the year when minimal techno really came out. Labels like liebe*detail, Get Physical, and Areal all made big splashes this year, but the tsunami came from Berlin producer Shed. With a penchant for odd time signatures and unique track structures, “Warped Mind” is probably his most accessible track in recent memory. In keeping with the auditory aesthetic of minimal techno, “Warped Mind” is an elegant track, consisting of little more than a filtered synth line over skittery percussion. And yet, as with most of the genre, there is something about it that moves the hips and nods the head.


Kaskade & Deadmau5 – Move For Me (Deal)
Buy it now here or here.
I’ve written about this track before and, thankfully, it’s lost none of its immediacy. Even though it is the only Deadmau5 production I’ve enjoyed all year, it’s still a great track and the ‘mau5 is in my top ten for the second year in a row.


Renato Cohen – Magica (Sino)
Buy it now here or here.
Every now and then, Brazilian techno star Renato Cohen drops a couple of brilliant techno stormers into the laps of Hong Kong label Sino. He did it in 2003 and again in 2005. This year he dropped off one driving techno classic (b-side “Power”) and one tech-house masterpiece (a-side ”Magica”). Both tracks are elegantly simple, with the latter being a slightly better track than the former. “Magica” marries a looped vocal sample with an acid bassline and a high-low, pitch-bent electro-bass. The loop extols the listener to “Save my Life!” which, when combined with the pitch-bent bass, creates the kind of adrenaline-inducing vibe most often heard in jock jams like Gary Glitter’s “Rock ‘n’ Roll (Part 2)”. “Magica” works best as what I think of as a transition track; one that transitions from a lower to a higher state of floor energy. In that context, it simply can’t be beat.


My Federation – Don’t Wanna Die (Eye Industries)
Buy it now here.
There aren’t very many so-called Indy-rock bands that incorporate the house/techno sound palette into their songs with any grace or consistency. These types of bands tend to display a great deal of distain for all things electronic, despite the fact that punk bands these ingrates tend to idolize owe just as much to dub reggae and disco as they do to 50s rock. My Federation would appear to be the exception rather than the rule. The title single from their excellent album “Don’t Wanna Die” sets the tone for the whole album. It’s punk with an acid bassline. The icing on the cake is the glorious 3-part harmony on the chorus. If that sounds like your cup of tea, then for god sake pick up this slice of 7” gold. If those are all gone, then go get the CD.


Murk Presents Liberty City – If You Really Love Someone (Paul Woolford’s 11 Minutes of Magic) (C2)
Buy it now here or here.
Miami-based duo Murk has been in the game a long time. They’ve been making house since the early 90s under a plethora of pseudonyms. You might know them from classics by the likes of Funky Green Dogs or Mission Control or Interlude or Interceptor or Deep South or Coral Way Chief or, indeed, Liberty City. “If You Really Love Someone” was originally released was originally released in 1994 under Twisted Records sub-label TRIBAL and is considered a classic. The real story here is not Murk; it’s Paul Woolford. Ordinarily, I have avoided putting remixes and redoes of classic tracks in the round-up because they tend to be luke-warm versions of the original; a Malibu Stacy with a new hat. Just occasionally, however, an accomplished producer can take a classic and make it their own. “If You Really Love Someone” is a pretty menacing track to start with. The hissy percussion cuts through the three-note bassline like a knife, while Shauna Solomon’s layered vocals wails over top of it all. Woolford dispenses with everything but the vocal, adds a growling, pulsing bassline over some 909 drum sounds and manages to simultaneously make the track more propulsive and more ominous. Even its extended length (11 minutes!) isn’t an issue as Paul changes things up just enough to keep things rolling and stop the listener from tuning out. Woolford’s output has been spotty at best in the last few years, but this remix places him firmly back in the pantheon of great producers.


Oliver Koletzki vs. Parker Frisby – The Is So Fuckin’ Oldschool (Stil Vor Talent)
Buy it now here or here.
Don’t let the title fool you: Oliver Koletzki wrote and produced all four of these gems. Even though the track list credits A-side tracks “Since You Are Gone” and ”This Is So Fuckin’ Oldschool” to Koletzki and B-side tracks ”Street Life” and ”Brain Against Heart” to Parker Frisby, it’s obvious to the listener that they’re all the same guy. The title is accurate in one regard; these tracks would fit nicely in sets from both 2008 and 1998. ”Street Life”, for example, sounds like a Samplitude-era Olav Basoski track. What ties the EP together is the percussion. The same drum palette is used in all four productions with varying degrees of success. Of the four, I slightly favour “Since You Are Gone”, closely followed by ”Brain Against Heart” simply for the interaction between the chosen drum sounds and clean piano/keyboard melodies. In terms of bang-for-your-buck, you can’t go wrong with this EP.


Wagon Cookin – Mallorca (Sasse Remix) (Compost)
Buy it now here or here.
Apart from the time-signature, I’m not even sure there’s anything left of the original in Sasse’s remix of “Mallorca”. Regardless, I have been digging that bassline since this record dropped in February. The filtering applied is just perfect for head-nodding and hip-shaking. My only complaint is that that the track ends…oddly. After the break, that awesome bassline just drops completely out and you’re left with only the drums and the synth chords. If you’re not paying attention, it’s a real letdown, but if you’ve got another bassline waiting it the wings, it’s gold.


Andomat 3000 – BND2 (Four:Twenty)
Buy it now here or here.
Andomat 3000, a.k.a. Andreas Wiegand, has been recording as DJ Mahatma since the turn of the millennium. I can understand why he came up with the new moniker because his previous output consists almost entirely of hardcore techno/Schranz; certainly nothing like this minimal jewel. The combination of the shuffle percussion and stand-up bass loop provides “BND2”s groove, while the occasional trumpet call and ululating yell evokes the image of outlaws huddled around a campfire in a Tex-Mex desert. Even the title is a clever contraction of the word “bandito”. Even Kiki’s utterly pointless remix serves to underline the genius of original. Out of all the artists listed in this round-up, Andomat 3000 is the one to watch.


The Whitest Boy Alive - Golden Cage (Fred Falke Remix) (Modular)
Buy it now here or here.
I wrote about “Golden Cage” 5 months ago in The Lost Post (Summer Ingredients) and it’s still golden. Fred Falke doesn’t put a foot wrong on this remix. The sparkling melody, the pulsing bassline, the pitch-bent synths, I love it all and it is far and away my favourite record of the year.

Anyway, keep watching this space. I’ve got a bunch of things in the works, including some upcoming shows and record reviews. Not to mention a new mix that may include a few of the tracks listed above. All set to drop in the next couple of weeks. Until then, keep buying records.

The Lost Post

For some unknown reason, the August 10th post intitled "Summer Ingredients" has disappeared from the blog. Is it a blogger issue? Did I delete it by accident? It's a mystery. Thankfully, the Google Cache has saved my bacon and I'm able to repost it below.

Monday, August 18, 2008

Summer Ingredients

We moved. Again. Same city, just down the road in fact, but it was still quite an undertaking. Not the least of which is all those little jobs a new house requires. Like mowing the lawn. I haven't had to mow a lawn since moving from Nova Scotia, and now I have to mow twice a week just to keep up with the growth brought on by all this rain. And I'm here to tell you, nothing makes you appreciate new music like mowing a lawn. Especially vocal tracks with a bit of hands-in-the-air whooshy-ness. Here are a few of my current favourites.


The Whitest Boy Alive - Golden Cage (Fred Falke Remix) (Modular)
Buy it now here or here.
A gloriously sparkly remix by frenchman Fred Falke. I always kind of assumed that Alan Braxe was the real genius behind past Braxe & Falke remixes, but it's clear I was very much mistaken. Sorry about that Freddie; you certainly hold your own. Back to the track: I'm not sure if it's the pitch bent keys in the melody or the minor chords of the rhythm line, but FF's remix makes me want to tilt my smiling face into the sun. He takes what is otherwise po-faced guitar song about being trapped and turns it into a kind of bitter-sweat anthem to summer flings. You cannot lose with this one, sunrise, midday, or sunset.


The Presets - This Boy's In Love (Lifelike Remix) (Modular)
Buy it now here.
Another Modular record! I've been watching the Presets since their Blow Up EP five (5!) years ago and I have to say these guys are doing it right. The original track is genius all on its own. The tenor/bass verses and falsetto chorus make for the kind of ear-candy that has me singing along even when the song's not playing. Lifelike (another frenchman and Vulture Falke-alike) injects a bit of bounce to the somewhat dire original. The over-compressed chorus along with the wonderfully squelchy melody combine for maximum whoosh!


Kaskade & Deadmau5 - Move For Me (Deal)
Buy it now here or here.
Written by San Franciscan Kaskade and produced by Canada's own Deadmau5, it's hard for me to judge the separation of duties. It sounds more like a Deadmau5 track, except for the exceptional vocals (performed by one Haley Gibby). Regardless, the track feels more like a lament than the typical techo/trance stormer we've come to expect from both Kaskade & the 'mau5. I've been feeling a bit blah about Deadmau5's stuff lately; too much bombast and not enough soul. Not the case here. The lyrical couplets "Move for me/I'll move for you," and "Another night out/Another dance floor," sound like the groan of a DJ who's been on the road for too long or the cry of the rave casualty so jaded that they're begging the DJ to bring back the rush of the early days/years. That their weariness can be expressed so succinctly is what makes the track great. In fact, the raw emotions expressed elegantly is what makes each of these three records great and is, I think, what's been missing from the current trend towards the minimal. There's just too much tech out there, and not enough soul.

In the Ear of the Beholder

Merry Christmas! Happy New Year!

I know, I know; I have got to better than one post every two months. In my defence, it has been an extremely hectic six months. We moved into a new house and the room designated as my den/”studio” was an unfinished basement room with concrete floor and bare studs. So, after wiring outlets, installing sheetrock, crack-filling, painting, and carpeting my new space, I decided I needed some new monitors to complete the picture. Of course, the monitors I wanted (Read: could afford) were back-ordered and I waited another six (6) weeks for them to show up. This is on top of all the other little chores that go along with home-ownership. Chores that I have been able to avoid for the last two years of ass-swelling, rental bliss. Chores like mowing the lawn, which I had to do twice a week through the summer months because of all the rain. I guess this is my long-winded way of saying that after almost six months of no deck-time I am very rusty and it’s take a couple of weeks of regular steel wheel workouts to knock myself back into shape. Fear not, though, a fresh mix is on the way, so keep an eye out for it.

The other thing to put a crimp in my spin sessions was the demise of my headphones. I bought my Beyerdynamic DJX-1s a little over a year ago after breaking what I swore would be my last pair of Sony V700s.



Not only did they sound great, as you would expect from a high-end manufacturer like Beyerdynamic, but they fit very nicely also. Very comfortable headphones. My only complaint at the time was that they were constructed entirely of plastic. My experience with plastic headphones has not been good. At various times I have cracked, snapped, or otherwise destroyed a set of Sony MDR-V500s, a set of Sony MDR-7605s, and two pairs of MDR-700s. Given the reputation of Beyerdynamic as a purveyor of quality headphones, I pushed those doubts aside and proceeded with enjoying my new cans. That is, until the simple act of removing them from my head after some practice time broke the band just above the swivel joint almost in half.

After contacting Beyerdynamic directly about a possible replacement under warranty, I was directed to the fine folks at Martech, Beyerdynamic’s reps here in Canada. Martech were extremely helpful, informing me that the broken portion of my DJX1s was covered by a five (5!) year warranty against breakage. “Send them to us,” they said, “and we’ll send them back, good as new.” So, off they went to Beyerdynamic's repair/replacement facility in Ontario. I am still awaiting their return.

In the interim, I played at a friend’s Christmas party using the only other closed headphones I own: JVC Marshmallows! And they were GREAT!! I know, I know; I asked myself the same question: How can this be? How can $20 earbuds function as well, if not better, than my $200 full-sized circumaurals? The answer, in short: isolation. The Marshmallows are like little foam earplugs with drivers (speakers) in them. According to headphonereviews.org, they’re able to block a whopping 26dB, two-and-a-half times that of the DJX1s. The big advantages to such a set-up are, 1) the improved isolation allowed me to turn down the monitors because I wasn’t using them anyway, and 2) I didn’t wake up the next morning with ears ringing. The latter has been of real concern lately. It used to be that I could play a show and go home with ringing ears, but wake up feeling right as rain. The last couple of events, however, I’ve woken up ringing and it has lasted through to the afternoon. This points to a disturbing trend of auditory deterioration, one that many be at least delayed simply by switching from full-sized headphones to In-Ear Monitors (IEMs for short).

For those unfamiliar with the term, the In-Ear Monitor is defined by the fine people of headfi.org, the definitive resource for all things headphonish, as:

In-Ear-Monitor (IEM), also known as canalphone, ear-canalphone, or ear-canal headphone, is a type of Inter Aural headphone that is designed to be used where the user’s ear canal is sealed by the ‘phone. The seal generally serves two functions: 1) blocks noise and 2) forms a sealed acoustic chamber to achieve a fuller sound. To create such as a seal, the earphone’s nozzle along with its tip (or sleeve) is inserted into the front part of the ear canal. Many high end IEMs are custom molded for comfort and perfect seal.

The custom molded IEMs referred to in the definition are those favored by live musicians nowadays. They sort of look like hearing aids and are credited with saving the hearing of rock bands world-wide.

Funnily enough, there aren’t any DJs who have jumped onto the IEM bandwagon. At least, there aren’t any who are talking about it. I did stumble across an article in Remix magazine talking about how the industry should adopt these auditory extending devices sooner rather than later, but that seems to be the sum-total of DJ scene coverage. Regardless of whether I’m breaking ground or not, a pair of custom IEMs are definitely in my future. In the meantime, my trusty Marshmallows will have to carry me. It will be very interesting to hear how they make out on February 1st.