Keep the nite-lites burning.

As you can see, I'm doing a tag-team set with my good friend Richard "Mr.Ricardo" Carhart. It's just an opening set, but this is a really big show. Here's hoping it pays off in some more regular gigs.

It'll likely be a very (although I hesitate to use the word) minimal set, although maybe "deep" would be a better way to describe it. Underground sounds, for sure. We are opening, after all. In all likelyhood I'll record it, so watch for that.

A new addition to the cheese tray

I was recently solicited to come up with a "Rave" mix, as opposed to a club mix. When I think of "rave" music I think of trippy, loopy tracks, with short stab-like vocal samples running at around ~130bpm. Ordinarily, I prefer to operate around 120bpm and I like vocal mixes, so compiling something along those lines became a bit of a challenge. The other challenging part about the excercise was not repeating myself by using records I'd high-lighted in mixes before. Here's what I came up with.

Easy Peasy Ravey Cheesey

Easy (Niekisch & Hermann Dub) - Trick & Kubic
Show Me Your Monkey (Punkers Cheetah Remix) - Percy Filth
Your Wildest Dreams (Joey Negro Medusa Mix) - Akabu
Penetration (Olav Basoski Remix) - Alex Romano
Booth Test - Dee Magic
Control Freaq - Felix & Junior
At Night (Alan Braxe Remix) - Shakedown
Star Catching Girl (Sander Kleinenberg's Dub) - Brother Brown
Needy Girl (Boy 8-Bit's Talk Box Dub) - Chromeo
Runaway - Thomas Cajal
Run On (Sharam Jey's Always On The Run Remix) - Moby
Golden Sun (Haji & Emanuel Remix) - Asle
Psycho - Romain Curtis & Ceeryl
Reddie (Paranoid Jack Remix) - Isaac S
Discoteca (Full Length Baby Doc Mix) - Pet Shop Boys
Drumspeak - Paranoid Jack

Beware the Ides of March...almost.

It is a sad thing to be present for the end of something you thought was good and pure. Last night at A Khord I played three hours worth of delicious vinyl for...the barstaff. That's right; not a single patron walked through the doors from 10:30pm until we shut it down at 1:30am. The novelty has apparently worn off and now the fickle audiences of Saint John have moved on to other, lesser events. I'm told that the engagement at A Khord ends on March 27th and there will not be a renewal. I for one will be very sorry to see a club night in such a spectacular space come to a crashing halt.

No recording, I'm afraid. The left-hand turntable had a short in the audio cable and it was causing some dire distortion. It wasn't a total loss, though, as it kept me entertained trying to choose records that could handle a bit of additional distortion. When life hands you lemons, make lemonade.

Another last minute booking!

I'm filling in for DJ Nexus6ix tomorrow night. My three (3!) hour set will feature lots of the music listed below. Come on down and check out some lush wax in context. For all those of you overseas, I'll likely be recording at least some of it, so stay tuned.

Gotta go pick out some records...

Tender Cuts - February 2008

As I noted in my round-up a couple of months ago, there were some serious contenders left off of my top ten. After spending a bit more time with these records, I feel they are deserving of more recognition than a mere mention.


Tracey Thorn - Grand Canyon (Ada's 1st Dub) (Virgin)
Buy it now here or here.
I was surprisingly underwelmed by Tracey Thorn's recent album Out Of The Woods, considering that most of it was produced by remix genius Ewan Pearson. In fact the only tracks on the album that raised my blood at all were produced by Martin Wheeler ("Easy") and Alex Santos ("Grand Canyon"). On the strength of those tracks, and because I love the sound of Tracey's voice, I kept an eye out for the singles. It's All True yielded a decent disco-inflected effort by Martin Buttrich that, I swear, is on every minimal mix I came across at the end of last year. The real gem, though, showed up on the second 12" for "Grand Canyon". Areal Records regular Ada turned in both a softly pulsing remix and a dub. The backing track is essentially the same for both, but the dub dispenses with all but the most soulful sections of vocal and, for my money, is the sweeter of the two.


Tone-Loc - Wild Thing (Peaches RMX) (Delicious Vinyl)
Buy it now here.
And now for something completely different. It's hard the imagine how one could improve on Tone Loc's 1989 pop-smash "Wild Thing", but I guess Peaches thought she could. To my shock, she hits it just right. As anybody who has heard the song knows, "Wild Thing" is a catalogue of encounters with sexually aggressive women. Written entirely from the male perspective on these fantastical events, Peaches shrewdly realized that she was in the perfect position to fill the other side of the equation: that of the sexually aggressive female. She adds a couple of explicit verses, subtly tweaks the sample to give it that electro-house sound and "Wild Thing" is born again. Track it down, you can thank me later


Eric Kupper - Electrikiss (Nite Grooves)
Buy it now here.
Eric Kupper's career spans the last 20 years of dance music and beyond. Starting as a keyboardist for the likes of David Morales, Frankie Knuckles, and Arthur Baker in the early 80s, Eric has been doing mostly remix work for the last 15 years. Checking his remix credits reads like a who's who of electronic music. All that aside, Mr. Kupper’s most recent effort, the “Faith Healer / Electrikiss” double A-side, is exactly the kind of keyboard work-out you’d expect from someone with chops like Eric’s. The one-note bassline pulses away underneath melodic pads while the melody sparkles on the top. The whole track puts me in mind of practically any scene from Blade Runner, and in fact would fit very nicely next to any the pieces from Vangelis’ score. That’s probably why it appeals to me so much; the track has that atmospheric quality that transports the listener to another place and time.

Bolivia in Saint John

I wasn't able to make it out to A Khord for Ultrasound Collective DJs Soundsyster and Flyzzard, but I was able to drop in last night for local nudger Nexus6ix and scene veteran DJ Bolivia.

Arguably the most internationally known DJ from Atlantic Canada, Bolivia has been spinning records for almost 15 years. Even though started playing the university bar at little ole Mount Allison, he's built himself quite a reputation and now plays all over the globe.

Bolivia turned in a solid set of progressive, tribal house; his signature style. Ordinarily, not my cup of tea, but I must admit he made it sound fantastic. In fact, if you go to his website it might even be there for download.

I had to leave shortly after Fred (Nexus6ix) went on, so I didn't get to hear him play. However, he has a new demo available here loaded with honest-to-god classics.

Last Minute Show

Call me crazy, but I love last minute bookings. It rachets up the excitment without drawing out the anticipation too much. I'm given just enough time to think about the records I want to take, but not enough time to worry about it.


Tim from Future Productions called last night and asked if I would like to put in an opening set at his Thursday club night at A Khord. "You bet!" says I. So, I am.


A Khord is a new bar that's opened at 30 Water Street in downtown (or uptown if you're from here) Saint John. It's a really nice place, as you can see from the pics.


I'm on at 10pm, so come on out and have a beer. Or a coffee, whatever.
Facebook Event Link

Favourites from 2007

The general blogosphere consensus seems to be that 2007 was another gray year in terms of new music. Personally, I don’t agree with that sentiment at all. Even now I have almost 30 releases sitting in my Juno wishlist. In my view, there was more good music released this year than in the past 3 or 4 years combined. I know one thing for sure: this year’s top 10 was the hardest I’ve ever had to put together and a significant number of great records by the likes of Agoria, Ada, Kinky Movements, and Eric Kupper were left behind.

It is nice to see some Canadians in the list, too. Being a Canuck myself, of course I have a soft spot for my fellow countrymen, but I honestly feel both records rose above all the others. And so, without further ado, here are my picks for the best records of the last year.

Miguel Migs - So Far (Eric Stamile’s Old School Revival Dub) (Salted Music)
Buy it now here or here.
I had originally wanted this track to appear on my second Dissensus Cassette Swap offering as it would have fit in perfectly with the theme. Alas, the postman did not ring in time. Eric Stamile takes Migs Latin guitar original and infuses it with some much needed 80s retro-synth action. LT’s (aka Aya aka Lysa Trenier) breathy vocal matches beautifully with the saw-tooth synth chords and combined with the grumbling bassline makes for a sexy groove. The cowbell in the background is a nice touch, too.


Partial Arts – Trauermusick (Kompakt)
Buy it now here or here.
I’ve written about “Trauermusick” before. The only thing I can think to add is that I still love the original, while the Alter Ego remix now grates.


Deadmau5 – Not Exactly & Faxing Berlin (Mau5trap Recordings)
Buy it now here or here or here or here.
Kind of a tie for eighth spot, but not really as they're both Canadian producer Deadmau5 tracks. I’ve been having this argument with myself for a while now: is Deadmau5 trance (shudder) or electro? Trance isn't all bad, I guess; I always liked the warm, melodic chords. The one thing I love about the recent crop of electro releases is that genre–defining, farting, squelching bassline. Deadmau5 has both in spades and combines them to greatest effect in these two tracks.


Tyken – Every Word (Hed Kandi)
Buy it now here or here.
Many critics seem to have a hate on for Hed Kandi. I guess I can understand that, as they seem to have been largely responsible for the recent crop of compilations distastefully slathered with hyper-stylized, headphone wearing, cartoon nymphs. Compilations aside, Hed Kandi really do seem to have a credible stable of house tracks at their disposal. “Every Word” by Swedish duo Tyken is a stellar example of the kind of house Hed Kandi are pushing. The electro bassline grinds in the background, while the filtered, burbling keyboards swing along with the vocal and strategically placed whooshing samples and synth stabs build the energy to a screaming crescendo. It’s perfect peak-time fair, guaranteed to plaster grins and raise hands.


Romain Curtis & Ceeryl – Psycho (Spinnin’ Records)
Buy it now here.
Dutch label Spinnin’ seem to be something of an enigma: they put out a dizzying array of test-pressings, white-labels, and CD singles, as well as being the parent for at least a dozen smaller labels and yet seem to fly completely under the popular radar. This 12” is a classic example. Released only as a test-pressing, it is the best bit of driving electro I’ve heard all year. Little more than a pulsing, hypnotic bassline and a blippy little synth phrase, “Psycho” keeps going and going, without the listener ever getting tired of it. I cannot for the life of me understand why this isn’t huge in the way that Alter Ego's "Rocker" was.


Jamie Woon – Wayfaring Stranger (Burial Remix) (Live Recordings)
Buy it now here or here.
Up until I recently discovered this remix, I had been largely unimpressed by the output of inscrutable London producer Burial. This track, however, is the very definition of remixing genius. Taking the re-arranged folk song “Wayfaring Stranger”, as performed by John-Mayer-sound-alike Jamie Woon, and turning it into a menacing, pulsating, nightscape track evoking not so much a performer onstage as a lone driver singing along with the sound-artifacts generated as the city rolls past the car window. Every time I listen I hear something new and I can scarcely imagine how many audio tracks were assembled into this one remix. A must for quality headphone listening.


Parov Stellar – Rock For & Love (Etage Noir)
Buy it now here or here.
Another recent find that I am sorry I missed the first time. I have often thought that the bluesier (Is that a word?) side of electronic music is largely ignored by producers. Everybody seems to settle on soul, reggae, and funk, while leaving the slower tempo blues stuff on the cutting floor. The notable exception is, I suppose, Moby’s album “Play”, although “Play” dispensed with most, if not all, of the instruments and focused almost exclusively on the gospel/blues vocals. Austrian label boss Parov Stelar (aka Marcus Füreder) successfully mixes blues with house and comes up with two first-rate tracks for this 12”. “Rock For” uses a looped vocal reminiscent of Billie Holiday, couples it with a simple piano riff and a muted trumpet, which I’ve just realized is one of my favourite sounds, and throws down a stomping track that is equal parts house, jazz, and blues. B side track “Love” is even better with stomping breakbeat, pulsing 303 line, chopped up male gospel vocal and, yes, jazz guitar. So good I am literally itching to play it out.


Daft Punk – Television Rules The Nation/Around The World (Live Mix) & Primetime Of Your Life/Aerodynamic(Live Mix) (white label)
Buy it now here or here.
Unless you’ve been living under a rock for the last year, you know all about Daft Punk’s triumphant world tour and accompanying live album “Alive 2007”. This particular 12” surfaced at the end of July and includes two allegedly live mixes in the mash-up style of the “Alive 2007” disc. After listening to both releases side-by-side, the 12” is either an excellently executed fake or it’s the real deal. Either way is irrelevant, I suppose, as both tracks are phenomenal mash-ups containing vocals and instrumental samples from a number of Daft Punk tracks, the most obvious of which are listed above. Track it down, you can thank me later.


Chromeo – Fancy Footwork (Guns N’ Bombs Thizzmix) (Backyard Recordings)
Buy it nowhere or here.
Canadian duo Chromeo have turned in a fantastic album (“Fancy Footwork”) and a string of fun and funky singles. American outfit Guns N’ Bombs give the best track on the album the Kitsuné electro noise it was missing and turn it into a grinding dancefloor freak-out of gigantic proportions. Inexplicably, this, the best remix in the current bunch of singles, is only available on the promo double 10” or CD.


Basement Jaxx – Make Me Sweat & Cool It (Atlantic Jaxx)
Buy it now here or here.
I haven’t bought a Basement Jaxx record since the “Rooty” days. Nothing from “Kish Kash” or “Crazy Itch Radio” did anything for me at all. So, when a yellow vinyl double A-side on their label Atlantic Jaxx, as opposed to their usual home XL Recordings, passed my nose I thought, “Maybe they’ve gone back to their roots (no pun intended)?” And they HAVE! "Make Me Sweat is little more than an acid bassline, some well-placed woo-woos, and a female vocalist (R-O-X-A-N-N-E) exhorting the listener to, "Make me wet, make me sweat!" The second A-side "Cool It" is just as stripped down, with just congas, whistles, vocals and some fun little piano interludes. Despite their sparse instrumentation both tracks have that indefinable energy typical of early Jaxx singles and both work equally well as warm-up and peak-time records. A true return to form for Basement Jaxx and my favourite record of the year.

...with a disco filling

For all those who miss that disco-house vibe.

To Step Aside (Ralphi's Old School Dub) - Pet Shop Boys
Temptation (Dealer's Raw Vox Mix) - DJ Dealer
Ride A White Horse (FK Disco Whores Dub) - Goldfrapp
Cool It - Basement Jaxx
Get This Party Started - Trouble Men
All Across the World - Alvarez De Jesus
Disco Dancer (Baby Bump Rochelle Mix)- Klatsch!
We Come To Party (Robbie Rivera's Hands In The Air Garage Mix) - Antoine Clamaran
Ready (Aquarius' Super Charger Mix) - Bruce Wayne
Lovers - Rawman
Dusk 'Til Dawn (Shapeshifters Remix) - Danny Howells & Dick Trevor
Dare Me (DJ Chus & David Penn Vocal Mix) - Kathy Brown vs. Miami Calling
Every Word - Tyken
Ride A White Horse (FK-EK Vocal Version) - Goldfrapp
Television Rules the Nation/Around the World (Live Mix) - Daft Punk
Luna - Andy Cato

Psycho Biscuits - A Subconcious Selection

It's been quiet around hereabouts, I know. Sorry. I took a couple of weeks off to prepare for and assist in the nuptials of a dear friend. It really was a great, if somewhat frantic, vacation. Not to sound like a sentimental prat, but it does one's heart good to see one's friend's happiness so apparent.

And then it was back to the grind on Monday. I never thought I'd say this, but thank god for work. Because it's summer and most people are on vacation it has been lovely and quiet 'round the station over the last week. I was able to work peacefully, headphones in place, for almost the entire week and, believe it or not, it really gave me a chance to recharge. I hit the weekend running, with the intention of mixing up something fresh. I had expected that my exposure to the wedded bliss of the previous weekend would nudge my selection in an uplifting direction. Wrong. It would seem my subconscious had other ideas.

It's not common knowledge, but I've become somewhat disillusioned and jaded towards the Promoter-DJ relationship of late. My last two outings have ended up being freebies; one promoter has managed to avoid me since the event while the other got busted and is incarcerated for an as-yet undetermined period of time. Apparently, getting stiffed is endemic in the local scene. If a party doesn't earn enough cash to cover its costs, the DJ is the last guy to get paid.

I want to make it clear; this is really not about the money. I don't make my living from DJing and likely never will. It's about respect for the service we provide. Without a DJ there is no party, just lights and a sound system. That service is worth something and the DJ should be compensated for his/her work creating the vibe. Hell, if I could get paid in records or gear, I'd accept that over dollars any day.

Back to the mix: I picked out some records on Friday night, anticipating an opportunity to record the following evening. When I got up the next morning, I had another look through the stack and was stunned by the selection. It would appear that the majority of the tracks I had chosen the previous night alluded in some way to mental illness, be it track titles, remix titles, or included samples. Tracks are as follows:

Psychological (Ewan Pearson Remix) - Pet Shop Boys
The standout track from last years Fundamental was also one of my favourite records of last year. A song about madness made all the more menacing by Mr. Pearson's remixing skills. First half of the track here.

R U Ready (Psycho Dub) - Hyperdelics
A tribal track complete with tribal drums and samples of someone whooping and hollering. It sounds like a one of those cannibal tribe scenes from some B-movie; all drums and screams and big steaming pots.

Harrison's Ford - Unlucky Brothers
A groovy little track built around a Bladerunner sample.

Leon: Is this part of the test? I get kinda nervous when I take tests.
Holden: It's a test design to provoke an emotional response.

Walking on Thin Ice (Orange Factory "Larry" Dub) - Yoko Ono
Nice bassline on this one. Yoko sounds wonderfully unhinged warbling about somebody crossing a frozen lake.

A Little Bit Paranoid – Different Gear
Groovy track with lots of low end. "Do you think I'm going insane?" goes the vocal. No, but I'm beginning to wonder about myself.

Galleon – Clubber
Another movie sample in this one, this time from M. Night Shyamalan's Unbreakable.

Elijah Price: You have a weakness. Water. It's like your kryptonite.

Not to spoil the movie for those who haven't seen it, but Elijah is the comic-obsessed nutjob who kills large numbers of people in an effort to find someone who can't be injured.

Killer - Adamski featuring Seal
Seal's first song. One of my favourites. Classic bassline. It's a pity nobody's done a decent remix of "Crazy".

Lazy (Norman Cook Remix) - X-Press 2 featuring David Byrne
Nothing fills me with rage like laziness. That said, the production on this one is anything but; Normie turns out a fidgety chunk of the bigbeat he's famous for.

Psychological (Ewan Pearson Remix) - Pet Shop Boys
Here's the second half.

Lose Control (Freaksundertoneredub) - Zoo Brazil
There's this crazy little buzzing sound in the bassline that I just love. Just what I imagine neural feedback would sound like.

Where's Your Head At? (Sounds of da Future Remix) - Basement Jaxx
It was when I saw The Jaxx's seminal ode to "losing the plot" in the pile that I started to get an inkling something might be amiss. This breaks remix by Sounds of da Future fits in perfectly with the apparent disagreement going on in my head.

The Creeps (Fedde Le Grand Remix) - Camille Jones
Funky yet dark, Fedde Le Grand (of "Put Your Hands Up For Detroit" fame) manages to make getting the creeps a delicious experience.

Love’s Too Much (Mugwump’s Next Phaze Reversion) - Shapemod
They're all excellent remixes on this 12"; in fact I used the Llorca remix on Fizz. This one is a nice long, bleepy, techy work-out. The gist of the vocal is that the singer can't handle his own feelings.

Psycho – Romain Curtis and Ceeryl
Brand new test pressing from Dutch label Spinnin'. Another gloriously bleepy melody with a rumbling undercarriage. Crazy.

Out Of Control – The Chemical Brothers
One of my favourite Chems tracks; the breakdown is just nuts.

Somewhere Beyond – Michael Gray
The mix ends on a high note with this sunny number from Michael Gray. An uplifting finish to what is otherwise a very dark journey.

See what I mean? What's amazing to me is the way that my subconscious influenced my choices rather like a word-association game. The negative things I was feeling about the scene and the music I associate with it coming to the forefront over the good vibes generated by the vacation and subsequent wedding. This mix is by far the darkest thing I've ever put together and may even be one of the best in that the theme is derived from such a raw set of emotions. I'll post it as soon as I've finished with my meager attempts at mastering. Here's hoping it leads to actual paying gigs.

Download Psycho Biscuits here.

Fizz

A new mix has been added to the Menu. Inspired largely by my experience at Way Back When 3, the mix includes records I heard and played at the event. Track selection was also triggered by reconnection with old friends. ¿Hay una discoteca por aqui, Newton?

Tracklist:
It's the Music - Meat Beat Manifesto
Electro Disco - Plump DJs
P.O.P - Junior Sanchez
Love's Too Much (Llorca's Modluv Remix) - Shapemod
Breathless - LCD Project
Warrior (Andy Caldwell's Electric Rerub) - Andy Caldwell
Flashback (D. Ramirez Mix) - Max Linen
It Began In Africa - The Chemical Brothers
Discoteca (Original Baby Doc Mix) - Pet Shop Boys
Rock Dat Shit - Menace & Adam
Make Me Sweat - Basement Jaxx
Till There Was You (Gabriel & Dresden's 12 Step Program) - Rachael Starr
Waitin' 4 U - Hi-Tack
Thriller (The Screamer Cut-up) - MJ
Fancy Footwork (Guns N Bombs Thizzmix) - Chromeo
Bizarre Love Triangle (The Crystal Method CSII Mix) - New Order
Discoteca (Trouser Enthusiasts' Adventures Beyond the Stellar Empire Mix) - Pet Shop Boys

Bon Appetit!

Way Back When III

I’m still processing the events of Saturday night/Sunday morning, but I have to say it was an incredible night. Lots of kind words from staff, patrons, and the two veteran DJs in attendance. It was a tag-team approach with Sonny D, Tommy Knuckles and your’s truly switching out every 30-40 minutes. My sets felt good, solid, and the selections seem to have been a hit on the dancefloor. People were dancing at any rate. Things didn’t start to go awry until my last set, between 5 and 5:30am. I was having real trouble concentrating and the mix just didn’t lock in the way it should have. I may have been the only one to notice, however, because everybody kept dancing and I didn’t catch any of the verbal insubordination reserved by ravers for train-wreck mixes.

What amazes me most about the night was the friendliness and camaraderie between all who attended. When one goes out at night to an event such as this in other cities, one invariably sees various illicit activities and/or forms of casual violence. This is just accepted; with the good comes the bad. That was not the case at Way Back When. With what I would consider a skeleton staff, consisting of the two co-promoters, co-promoter’s husband, male and female pat-down people, one huge bouncer (who was late), and bartender, they managed to pull of a night that was visibly thug-free and drug-free (Not to say that there wasn't any drug, you understand, I just didn't see any).

What made the night even better was that Deb was able to come with me. Through the kind generosity of my parents, who stayed with the kids all night long, we met lots of great people and danced our asses off between my sets. I can't wait for the next one.

Catering Services

Cookin' up the bomb at Way Back When: Volume 3 on June 16th. I'll be tag-teaming with veterans Sonny D and Tommy Knuckles. I've got a lot to live up to.

Rich New Dessert

Check the menu.

Do I Believe??? - KD
Come Together (Dub) - High Caliber
Turn It Up - Nixon
Fallin' In Love - Funkerman
Get 'Em High - Stanton Warriors feat. Sway
Nile - Eric Prydz
Pretend (Beat Cult 6th Avenue Vocal) - Emmanuel
Easy - Trick & Kubic
Nightshade (Rodriguez Junior Mix) - Alexkid
SOS (Message in a Bottle) (Delano & Crockett Remix) - Filterfunk
Yours - Delicious feat. Tiger Lily
Proper Education - Prydz vs. Pink Floyd
Funkytown - Lipps Inc.
Bossy (Alan Braxe & Fred Falke Earth Out Mix) - Kelis
Here Comes the Rain Again (Future of Vision Bootleg) - Eurythmics
What Dreams Are Made Of - Space Cowboy
With Every Heartbeat - Kleerup feat. Robyn

Fresh Menu

Three items currently listed on the right side of the page.

Bon appetite.

Partial Arts

I've been super busy over at the FLC. It's not as simple keeping something like this moving as one might think. Regardless, some fresh cuts are long overdue so here's a few quickies.

Partial Arts - Trauermusik [Kompakt]

My first Kompakt record! I feel excited and dirty all at the same time. Wait, that didn't come out right... Oh! I've done it again...

For those who don't know, Partial Arts is actually DJ/Producer/Remixer extraordinaire Ewan Pearson and long-time collaborator Al Usher. The monnicker "Partial Arts" has only been used on a handful of releases and remixes, among them 2002's Canopy and recent remix of Audiofly's "Miscalate". "Trauermusik" is their first release on the Kompakt imprint and hopefully represents a turning point in the duo's collaborations. Partial Arts productions of the past have been sparse affairs, often little more than drums and bleeps, but "Trauermusick" is a step in a far more plush direction.

The track opens with a bell synth patch oscillating from ear to ear and quickly developes into minimal bleepiness. That's a good thing, though, as it fits in with what has to this point been the Partial Arts aesthetic. The rhythm track explodes with what Ewan has desribed in interviews as "cannon fire". The track continue to layer minimal elements on top of on another until the burbling electro bassline sneaks in at the 2:16 mark. Things get really dramatic when everything is faded down to low frequency pads. And thats when the cello kicks in (I never saw that one coming. Seriously.).

On The b-side, Alter Ego pump those low frequencies for all they're worth and force out the kind of electro-house work-out we've come to expect from the the makers of "Rocker". It's not as good as the original, though. Ewan and Al really have crafted a wonderfully melancholy track that chills you and lifts you all at the same time. It's the first Kompakt release I've heard that has an ounce of heart and, dare I say it, soul.

New Look

What do you think?

...hello?...

...Anyone there?...

Stealth Second Thought

Ever since I took over organizing the Dissensus Cassette Swap (AKA Ferrite Love Connection) I’ve become obsessed with updating the CSS template for both that blog and this one. The templates are now done and should be up in the (relatively) near future. More about that later; this post is about my “vacation”.

Last week I took my family home to Nova Scotia over my kids’ March Break. We’ve been here in New Brunswick for several months now, and they were keen to get home and see some of their family and friends. Personally, I could care less; my parents and siblings have made a concerted effort to come and visit us since we moved. My wife’s family, however, has made it clear that they are unwilling to make the journey and, if we cared about their feelings at all, we should bring the children home to visit as often as possible. So, last Friday we made the five hour journey to Nova Scotia.

Over the course of the journey, particularly after listening to the dialogue of the Cars movie playing on the in-car DVD system ad nauseum, I made a mental note to check out my boxed up CD collection for possible return trip listening. For those who don’t know, radio stations in this part of the world play either country music, classic rock (i.e. rock music made between 1969 and 1980 with selected hair-metal cuts from the 1980s thrown in for “freshness”), or talk news/sports. The situation is desperate to say the least. Ordinarily, I would have overcome this with a couple of burned CDs made especially for the trek. Unfortunately, between work, kids, my new CSS obsession and sleep, time was limited and those discs just never got finished.

During the following week I was stricken with a virus so insidious that it laid me low for almost the entire span. While I felt awful, it did give me the opportunity to explore my CD collection, something I haven’t done since I stopped buying CDs in favor of 12” singles five years ago. (Perhaps I’ll delve more deeply into the change-over some other time.)

The most surprising find was Leftfield’s Rhythm and Stealth. I bought Rhythm and Stealth in 1999 based on the strength of Leftism’s big hit “Open Up” I was still getting my feet wet with house, trance (yes, trance!) and techno in the late 90s and was hungry for whatever I could lay my hands on. Like most of the critics at the time, Rhythm and Stealth left me cold. It’s not as flashy or synth-y as most of the other electronic CDs I had been exposed to previously. I recall discarding it with a resounding “meh”. I can’t tell you why it didn’t end up in the local used CD store. Perhaps I was taken with the cover art.

Flash forward 8 years, through a brief flirtation with drum ‘n’ bass, a passing interest in UK garage, and a continuing obsession with repetitive, filtered French house. From dub to dubstep, I’ve heard an awful lot of electronic sounds and programmed beats since 1999, and after all of it I can say with absolute confidence that Rhythm and Stealth is a classic.

The biggest critical complaint lodged against Rhythm and Stealth seems to be that it isn’t Leftism Part 2, despite the fact that Leftism was met with equal distain when it was first released. I would argue that Rhythm and Stealth’s real strength lies in its departure from the typical Leftfield framework. (Aside: Can one say “typical” when there’s only been one previous album?) Besides, neither Leftism nor Rhythm and Stealth are really albums in the traditional sense of the word. Leftism is more a singles collection with “Open Up”, “Release the Pressure”, and “Song of Life” all released prior to the album. Conversely, R&S is more of a mix-tape, with peaks and troughs just like a good DJ set, that happens to collect tracks by the same artist.

The album launches with the Roots Manuva-fronted electro-dub of “Dusted”. Manuva’s blistering vocoded flow bridges the gap nicely between the dub and Bambaataa-electro influences central to the rest of the album. On first listen, I was struck by how much darker “Dusted” is than the majority of Leftism. That’s maybe to be expected with a title most often used to describe the psychotic behaviour of a habitual PCP user. That darkness continues with “Phat Planet”, a song best known as the soundtrack to the famous Guiness surfer add, through “Chant of a Poor Man”, a song about rising up in the face of oppression and intense loneliness, and into “Double Flash”, a percussive Underground Resistance-like track which can only be described as punishing. “El Cid” rounds out the first half (side?) of the record with an ambient dream more typical of Leftfield’s previous output. Many reviewers have described “El Cid” as the low point in Rhythm and Stealth, often pointing to superior examples of both trip-hop and ambient electronic music. For me, “El Cid” is a welcome relief to the harshness of the preceding tracks. It’s the release of all that tension with something soft and beautiful, before it starts winding up all over again.

As noted above, most of the tracks on Rhythm and Stealth owe as much to Planet Rock as to the work of Lee Perry and King Tubby. So I think it fitting that the second half kicks off with vocals by the electro-Zulu himself, Afrika Bambaataa. “Afrika Shox” is probably best remembered for its banned music video depicting a homeless man who is literally falling apart. Bambaataa’s vocals are processed in a similar manner to Manuva’s, but where Manuva sounds threatening, Bambaataa’s vocal has the air of preaching to the converted. “Dub Gussett”, as the title suggests, is little more than structural undercarriage; a dub bassline and a breakbeat that varies just enough to keep things interesting.

It’s not until “Swords” that the listener gets his first indication of the aggressiveness implied by both album title and cover art. A slowburn trip-hop track buried in the middle of the second half, “Swords” is the highlight of Rhythm and Stealth. The lyrics “I have/become pure water” and “I wear my sword/at my side”, either of which could be thought of as the chorus, can easily be imagined as the mantra of the samurai warrior pictured on the cover. A simple three chord refrain repeated as both bassline and icy synth-line couple with a click-track beat looping underneath the vocals to deliver maximum drama. The overall effect of the song is profound. I can’t help but stand a little straighter, lift my chin a little higher, as vocalist Nicole Willis sings “I wear my sword/at my side”. “Swords” welcomes the battle and promises an honourable fight.

If “Swords” is the build-up to the battle, then “6/8 War” is the war. Another unrelenting rhythm track, “6/8 War”s skirmishing beats are punctuated only by the occasional icy, echoing synth war-cry. Finally the stuggle is over and “Rino’s Prayer” anchors the record with what can only described as a lament. Reminiscent of Vangelis’ “Damask Rose” from the Bladerunner soundtrack, ”Rino’s Prayer” is mostly vocalist Rino’s mournful chanting over dissonant pads, plodding bassline and click track. The effect is melancholy, to say the least. Even the marching breakbeat and Nuremburg-like crowd noise that drops in at a little over the three minute mark only serves to highlight “Rino’s Prayer”s misery. It is the perfect finale for Rhythm and Stealth, a none-to-subtle reminder that all things come to a close.

After Rhythm and Stealth’s disparity with Leftism, the most common critical gripe was that the album never develops a groove. I played Rhythm and Stealth on the five hour drive home, and because everybody was asleep, I had to keep the volume very low. So low, in fact, that at times all I could hear was the bass. As I drove I came to realize that not only was I hearing the bass, but I was feeling it through the speaker in the door.

There is a groove to Rhythm and Stealth, but it’s hidden. You won’t hear it in your headphones.

It’s visceral; you have to feel it. With your leg up against the speaker

Favourites From 2006

2006 was a pretty tough year for the DJ. There weren't really many records released that sounded fresh or different 100 other records one already has in one's crate. After a year of scouring the message boards, podcasts, and daily Juno emails, these are ten that caught my ear.

Sebastian Leger feat. Gia Mellish – Hypnotized (Royal Flush)

I’m not usually one for vocals, but, as you’ll soon see, this year I seem to be a sucker for the sound of a beautiful voice. Does that mean I’m getting old, I wonder? Dunno. What I do know is that Sebastian Leger has crafted a dirty little rump-shaker with Gia Mellish’s vocals over funky hand-claps, farty bassline and delayed synth wash. Good, solid electro-house with just a smidge of French luxuriance thrown in for good measure.

Emmanuel – Pretend (Beat Cult’s 6th Avenue Vocal) (white)

Ah, the analogue synth sound. Often overdone these days, but Beat Cult (whoever they are) keep it simple with just the vocal and that pulsing analogue-y synth sound. I especially like the “la-la-la”s in the break.

My Robot Friend – Rapture (Soma)

An odd little track, the lyrics consist of cut-and-paste syllables from type-and-speak software. This may seem gimmicky, but in fact it forces you listen more closely, piecing the puzzle together, trying to appreciate the bigger picture. I’m not usually one who pays attention to lyrics, so when a song forces me to do just that I consider it something of an achievement.

Ellen Allien & Apparat - Way Out (Bpitch Control)

The gloomy string sounds, grinding minimal bassline and guitar feedback would make for devastated dancefloors on their own; throw Ellen’s multi-tracked, delayed-to-distraction vocal on top and the track is elevated to the sublime. This should have been the song that broke minimal to the mainstream.

Trick & Kubic – Easy (Data)

Breathy, slightly European-accented vocals on the top and a groovy bassline thundering away underneath; it’s as simple as that. Lyrically, the track is somewhat trite in its belief that change (one’s life, the world) is easy, but when coupled with the uncomplicated groove, I can almost believe it.

Nelly Furtado – Maneater (Geffen)

The harmonies! The harmonies! Double, triple, octiple tracks of layered harmonies; it’s like a hip hop Bohemian Rhapsody in there. Timbaland works his magic with a less-is-more approach to the instrumental beneath Nelly’s phenomenal vocals. With little more than beats and bleeps as the undercarriage, those harmonies more than fill in the spaces.

Kelis feat. Too $hort – Bossy (Alan Braxe & Fred Falke Earth Out Remix) (Virgin)

French label mates Alan Braxe and Fred Falke apparently have the same contempt for Kelis that I have. The remix dispenses with all but the breathy bits and then launches into the kind of old-school synth work-out that we’ve come to know and love from the French. Then they threw in a DJ E-Z-Rock-era “woo” sample on every other bar and voila! A masterpiece!

Pet Shop Boys – Psychological (Ewan Pearson Remix) (Parlophone)

The standout track on the excellent Fundamental gets a little help from the best remixer in the business. Pearson keeps the vocal, chucks the rest away, and comes up with a sinster (is that a harpsicord I hear?) acid monster that sounds straight out of a horror movie soundtrack. Danceable and yet even more menacing and unsettling that the original, it’s the best thing he’s done since "Strict Machine".

Alexkid – Nightshade (Rodriguez Junior Mix) (F Communications)

Alexkid seems to have a knack for pairing sparse acid sounds with female vocals. See 2003’s “Come With Me” and 2005’s “Don’t Hide It” for other stunning examples, which coincidentally also feature Lissette Alea, . I prefer this remix over the original only because Rodriguez Junior has added a few gently oscillating pads here and there, making it just a little sweeter.

Kleerup feat. Robyn – With Every Heartbeat (Risky Dazzle)

Is it my favourite because I just discovered it? Has the novelty yet to wear off? Maybe, but it’s one of those tracks that leaves you wishing there was more of it. Lots of low-end, melancholy pads, lush strings (Eat your heart out, Trevor Horn), earnest carpe-diem vocals…more, more, MORE!

And We’re Back!

Highly successful move to Saint John, New Brunswick. Merry Christmas, Happy New Year, back to work.

I’m a big enough guy that I can admit when I’m wrong(ish). So, when Stylus lists Villalobos’ 37 minute Fizheuer Zieheuer at #36 in it’s Top 50 Singles of 2006, I guess I have to swallow and accept that it was a success after all. I personally can only listen to about 4 minutes of it before it pisses me off, but hey, that’s me. Individuals far more eminent than me love it to death.

I also question the inclusion of the Clipse yawner “Mr. Me Too” at the #38 position. I know there are people who hail this as some kind of new standard, but I don’t understand why. After repeated listens all I get from it is hookless, drug-dealing slang. I think being from white, rural Canada means I will just never fully appreciate the darker side of the urban, black experience.

If there is a diamond in the rough (relatively speaking) on that list, it has to be Kleerup’s “With Every Heartbeat” (#27). I totally missed this 7” slice of disco genius despite all the time I spend reading/listening on blogs, messageboards, and podcasts. As far as I can tell it came out of nowhere, passed everybody by, and then made the Stylus Top 50. I’ll tell you this: my copy is going to be devastating dance floors in the very near future. I mean, what kind of sad indie-bastard would you have to be to not love it? I submit that you would have to be a great deal of all three.