There’s one obvious choice for you. The Laurent Garnier record has already received enough buzz without me adding to it. However, I have decided to ignore this fact and talk about it anyway. Sue me.

So the story is that Dixon was playing with Laurent Garnier at Panorama Bar and suddenly the man with the red face dropped a track that we now know as “Back To My Roots”. Dixon immediately proposed signing it to Innervisions. “Panoramix” was apparently (see Dixon interview) made the weekend right after they had signed “Back To My Roots”. You could say the man is on a row, considering the number of records he has put out in the recent years (hint: not many).

“Back To My Roots” is sort of a tribalish epic production. What amused me was Dixon’s comment on a message board (Faith Fanzine, I believe it was) about the track being shit for the first 8 minutes. Hell, that’s about as long as your regular track gets. Anyway, if you listen to the track, you can probably see what he meant. If “Back To My Roots” could have just as easily been produced 10 years ago (and that’s a good quality, by the way), “Panoramix” is the more contemporary piece of music on this EP. When I first heard it, I presumed it to be a remix of Sebo K’s “Horizons” and later learned I wasn’t the only one to make that connection. However, it’s also got a clear touch of “The Man With The Red Face”, for nostalgic purposes.

For me, it’s another rock solid Innervisions installment.

A: Back To My Roots (original Afrodiziac mix)
B: Panoramix

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This little gem is something for you to start your weekend with - a perfectly orchestrated version of the nu-trance anthem that whisked Âme and the Innervisions gang up into hype heaven. Pizzicato strings take over the melody that all the office geeks with bags under their eyes were whistling in 2007 after living out their rave dreams over the weekend. The drummer probably had to have his arms amputated after all the hardcore cymbal action. Any more drama and we’d be watching “The Bold & The Beautiful”. I dare you to play it out in a club (let me know what happened).

Sonar Kollektiv Orchestra is a band (or actually much more than a band) made up of label artists and friends. On the album you will find Sonar Kollektiv anthems from the past and the present.

By the way, Âme is a French word, so pronounce it like one.

Buy/Listen at Sonar Kollektiv website

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But as long as it’s slow, I might share with you two classic tracks.

Pepe Bradock – Life
Atavisme - ATA 001

This one has been creeping back into my sets recently, showing off its timelessness. The use of the Prince’s “Purple Rain” samples is downright magnificent. This is why I forgive the man tracks like “Rhapsody in Pain”.

Joe Claussell – Agora E Seu Tempo (The Acroostic Percussion Version)
Spiritual Life Music - SLM PRO 11

This is an ultra-rare version of the beaufiful Mental Remedy (Joe Claussell + Jephte Guillaume) song. A couple of weeks ago, I walked into the MVE shop on Berwick St, London, and there it was, as if to remind me of my Spiritual Life Music obsession years ago. Fate, I presume. And I didn’t even have to pay the usual 50 pounds that it goes for on eBay. Shouts go out to Mr Madis Nestor who first turned me on to this one. I hope you like your percussion intros long.

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While you have been biting your nails waiting for the next post, I have been enjoying myself in the darker parts of London. Saturday saw me visiting Mulletover, an underground party that feeds the hype by keeping its locations secret and publishing it through viral channels only a couple of days before the event. The highlight there was Dixon, who unfortunately entertained the carnival-masked crowd only two hours until 2AM, which is when Sebo K took over. His set was quite a disappointment, simply because of the mostly dull music. He had a couple of moments though, to give him justice. Dixon played out a couple of records that are quite certainly going to be big once they get released, such as the new Laurent Garnier on Innervisions or the Henrik Schwarz remix of Bill Withers or a track from the new Loco Dice album.

The album altogether is brilliant and quite house-y. Which gives me confidence in saying that House is making a small comeback and conquering back territory from his skinny weird-hairstyle brother Minimal. Another indicator of that have been the recent Radio Slave records, which I have liked quite a lot. And I don’t recall a minimal record from the recent months that would have moved me very much.

But just go ahead and listen to the sweaty beat of “Tight Laces”. It’s really something, isn’t it?

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Listen/download the Lustwaffe Promo Mix.

Here’s the tracklist:

Camille - Ta Douleur (Al Usher Remix) - EMI
Spencer Parker - Beautiful Noise - Rekids
DJ Mbuso Feat. Shembe - Ukukholwa Kuwe (To Believe In You) – Innervisions
Jerome Sydenham & Dennis Ferrer - Timbuktu (Ame Original Mix) - Ibadan
Mrk – Donnie - Unreleased
Stateless - Bloodstream (Henrik Schwarz Remix) - !K7
Argy - 1985 (Sydenham & Rune Remix) – liebe*detail
Sian - Wear Your Scars Like Medals – Aus Music
Martin Buttrich - Stoned Autopilot – Planet E
Sueno Latino - Sueno Latino – Ibadan
Deee-Lite - How Do You Say…Love (A Delicious Pal Joey Dub) - Elektra

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It took me a while to settle into this epic overflowing madness. Everything’s shrinking to minimal these days, so it’s hard for a modern house music consumer not to be blown away by such large storm of sound. Even Carl Craig has recently shown more of his ’spartan’ style of composing. So the remix of Gary, as well as the original, is like enjoying a nice Russian Cheburek (a pie filled with grease, basically) after a long fibre diet. By the first taste of it, I couldn’t quite digest it. But once I got my thinking set to the right context (think Gary Numan and maybe a bit of Kraftwerk), it started to grow on me pretty fast.

In this context I’d even prefer the original over Carl Craig remix, with its robust drum programming and more exciting variation on the bassline. But would I spin it on a club night? Honestly, it’s a pretentious track with such strong character that it would definitely need some serious fitting into my usual playlist. So I’d be careful about this, but probably would take the chance. Especially while focusing on some 80s stuff.

A: Original Mix
B: Carl Craig Remix

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So, mr Ligny, we meet again!

Fabrice Lig is the first and most probably the last artist I’ve ever sent fanmail to. His debut LP called “Walking On a Little Cloud” (under Soul Designer alias, 2002) was, and still is, very much my taste in deep techno - mostly dreamy, Detroit-influenced beautiful soundscapes, with nicely programmed techy and very distinctive beats. So after listening to the album for the first time, I just felt the sudden urge to express my exaltation to him and give some casual respect. And he replied shortly - thanked me for my letter and, if I remember correctly, said some nice things he had heard about the Estonian underground community. Naturally, I was all excited about this kind of personal contact and was sure that it was a beginning of close relationship, musically.

In some point, we ‘grew apart’, musically. The next albums, “Roots of the Future” and “My 4 Stars”, did not make me feel like sending fanmail, it started to sound a bit.. eeeh… worn out to me, to be honest. And from there it got more and more… eeeh… cheesy. Although he maintained the characteristic and recognizable sound, the basslines got naive and a bit irritating. Of course we still ’shared’ some bright moments - like the “On Stage EP” he made with Jean Vanesse (the South Union project), that was catchy and sharp as ever. Nevertheless, as the time came by, I felt like seeing other people, musically.

But I hadn’t heard the last of mr Lig, it appears. Every single day, when I browse my RSS feed for new releases, I dream to come across such sick tunes as “The Track”. It starts with hypnotic carlcraigish stomping and hits the climax with huuuuge epic breakdown, growing and growing and growing, climbing up the octave with crazy synth stabs. If I know anything about the people going to the parties where we play, they will be knocked out by it. There are quite ecstatic comments on it on WAS already, by the most prominent DJs and producers. That one really heats up our relationship again, musically, and I feel like sending fanmail again. Definitely books a high place in my personal 2008 chart.

The below is a snip from the superb Offtrack radio show, so don’t be scared if you occasionally hear the soothing voice of Dirk Rumpff.

A: The Track
B1: Bump Bump
B2: The Riff Pourpre

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It must be pretty easy for a well-known producer to get some publicity for his new tracks. Then again the downside is the lack of forgiveness shown when the production doesn’t deliver as expected. He gets labeled as being old or selling out or doing it for the money. So whenever I see a new release from a producer of Martin Buttrich’s statue, I tend to get a bit nervous. What if this is the downfall? What if it’s got Capitol A on the lyrics? I think I tend to bring myself in a pessimistic state like that just to increase the chances of a positive surprise.

I’m relieved to say that “Stoned Autopilot” is indeed a positive surprise. I don’t care much for the flipside – “Cruise Control” – although it will probably get played by many DJs. The necessary tension is missing, and that’s luckily there on “Stoned Autopilot”. Starting with a punctuated single note bass line, it evolves to a harmony that reminds me to a more techno-ish Henrik Schwarz. And then there’s the breakdown. All in all, it’s not an obvious sort of a hit, but I feel it can do massive damage to the dance floor if played at the right moment.

A: Stoned Autopilot
B: Cruise Control

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I’ll leave you with a nice Dixon interview from his visit to Australia in In The Mix.

I haven’t heard any good new DJs in the last few years. How come, though? Where do they learn to play these days? They have no chance to play clubs for longer than just the warm up. How can they learn how to guide a crowd through a night? There’s nearly no clubs left where the residents play all night long. I think that is the basis of a good DJ.

Also check out his Innercity 2005-2008 mixtape at OFFtrack.org.

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I didn’t decide before that I wanted to do a minimal album or I wanted to do a house thing. It just flows through me and comes out.

I think house was labeled badly, like handbag house and things like that. And bad people were listening to house. House was like porn music. But now it has come back. It’s very good what Dixon does. Some people in Berlin and other places have really kept at it. I mean Dixon has been playing this kind of music for fifteen years and now people are like, ‘”Ah, he’s a new DJ. He’s so great.”

It’s a bit like if you have a really good Luciano set - he is my favorite DJ I think, sometimes - then you have four hours of nothing happening. It’s like a long line, which is the best thing that can happen. I always try to play like that. I can’t really because he’s so amazing, but that is the best thing. It’s like the old way of playing. There’s nothing really spectacular happening. It’s about feeling like “Okay. We are here. There is no time and I’m just dancing.”

Efdemin - Le Ratafia

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