fijiama.net - more f*ing house music

Desolat - DESOLATCD001

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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There’s a party coming up near our end of the civilization. It’s named Lustwaffe, which is sort of clever flirting with inappropriate, depending on your sense of humour and knowledge on war history. It’s going to be featuring your humble hosts as well as a veteran DJ from the Land of Nokia and Santa Clause, Mr A. Beware, the homepage of the party is written in a made-up language, apart from international labels such as “house” and “techno”. The page also features a mix to promote the party, which is what I’m planning on linking here now. Go ahead, take a peek and see if you want to join the event (just 2 days away now, so you countless fans from Australia may have to find another place to crash!).

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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Klang Elektronik - KLANG 132

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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Versatile - VER 058

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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Planet E - PE 65296

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 be snowboarding in Livigno, Italy the whole next week, so probably no reviews to come till I’m back.

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 stumbled upon an Efdemin interview in Resident Advisor (published in summer 2007). His productions had managed to escape me for quite a while, however once they finally kicked in, it was for good. And it’s funny how his music kind of clicked with everything that I read in this interview. Here are just a couple of my favorite quotes:

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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Deeply Rooted House - DRH 016

So here it is – Kerri Chandler’s coming-out as a computer nerd. I think it should encourage nerds disguised as DJs and producers all over the world to step out and say: „Yes! So what if I sometimes like to throw on my Inner City CD and do some Fortran programming!“ Kerri’s revelation surely explains his relatively fast adoption of laptop-DJing (heavily frowned upon by purists at the time as I recall) and the giga-nerd laser live at Southport.

But if you are easily intimidated by music producers confessing to have been into “modding game machines”, I can safely say - you need not fear. And those of you who are expecting Kerri’s trademark bottom-heavy bass drums and 808 claps, this EP doesn’t fail to deliver. “Kong” is very much an old school house track, with some acidish snare/clap/cymbal action and a bouncy bass line. You know, sometimes you just like toast, without any butter or jam or anything. “Pong” is a more elaborate tune, relying on percussion, arpeggiated synthesizers and finally a string section to contrast the tech. It travels a bit to the Ibadan and “Sandcastles” territory and ends up with maybe just a little too much cheese for my taste.

The pick? Just toast for me, please. Thank you!

A: Kong
B: Pong

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Planet E - PE 65292

It’s always making my palms sweat instantly to see a Planet E record on the new releases’ list. Not many labels do that to me these days, but I really cannot recall any disappointments from this label during the years. Not to mention that Planet E is one of the most respected native Detroit techno and house labels since its early ages and is run by Carl Craig, who has pretty much shaped every scape of the modern house and techno sound.

I admit I’ve never heard anything about Sebastien San, and it appears that the guy has a quite short discography so far. But “Rising Sun” got me and my sweaty palms on the first beat. It is built on one short and simple hook and has quite a linear structure, but (typically for Carl Craig) it never gets boring. And works like a Chippendales show on a bingo night - I cannot wait to let this one loose on the dancefloor. Carl Craig edit on the flip restructures the original a bit and offers another buildup scheme.

A: Rising Sun (Original)
B: Rising Sun (C2 edit)

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Atavisme - ATA 008

If you look at Pepe Bradock’s career, you will see that has been very determined in making increasingly undanceable music. The days of “Life” and “Deep Burnt” are in the past, the recent records like “Rhapsody In Pain” or “Sakura Incident” make you wonder if Mr Julien Auger is using his credit to play practical jokes on the deep house peeps. However, be it a joke or not, I’m definitely falling for it.

This time it’s “Intriguing Feathered Creature”. Yes, that’s the name. No, really. This somehow illustrates the Pepe Bradock way of thinking, since it could have just as easily and randomly been called “An Interesting Bird”. But that wouldn’t be freaky, or rather, not freaky enough. Or we are just missing a very simple everyday background story on this.

“Creature’s” bizarre chord progression reminds me of “4” from 2003 on Atavisme, which was kind of a lullaby sounding tune that I liked for that quality. It’s definitely out of the ordinary and has the effect of growing on you, along with the steel drum melody. Somehow, it still seems like a caricature of deep house exploring the jazzy chord progressions to sound more sophisticated. The chords are overlaid with strange seagull-like noises that obviously give the track its name. The dub is essentially the main mix played from inside a big tunnel – like you would expect from the guy. And then you have the AK-Pella that allows you to get a bit deeper into the chirping sound of the seagulls. Which is nice.

While Pepe might be lost to our world of mortals, I do appreciate his messages from the other reality.

A: Intriguing Feathered Creature
B1: Intriguing Feathered Creature (Dub)
B2: Intriguing Feathered Creature (AK-Pella)

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