88 Music Blog

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One has to admire the creativity many electronic musicians use to present their album format.  Be it the mix cd with clips of a dinner party (read: sound of the second season with Sven and Richie), the impossibly well mixed cd across every genre man has recorded (read: Henrik Schwarz: DJ Kicks) or recording on labels normally age barred to electronic music fans (read: ECM or Deutsche Grammophon), EDM does not like convention or format.  Mathias Kaden, while firmly committed to a sonic palette without set formula, plays the deceptively straight and narrow here: the pure studio album.  Quite simply, Studio 10 feels like an evening in a gifted musician’s studio listening to his sketches and his completed works.  The result, if one were in that studio, would be a rare and intimate occasion among a handful of continental Europe’s top talent.  To the listener in beltway traffic the challenge is to weigh the very complete pieces amongst the scraps and avoid the Mack Truck swaying in lanes while pressing the track forward button.

Album aside for a moment, Kaden is a consummate artist embattled with concepts of forward movement within the minimal genre.   Beginning his career in the advent of minimalism with his pal Marek Hemman, he took the complex palette afforded Freude Am Tanzen to brilliant effect.  Two years hence, Kaden forged the Vakant label on a similar aesthetic of eclecticism within the minimal spirit.  Four years hence and his sound, no thanks to Wolf and Lamb and the afterhours concept, is enjoying its fifteen minutes.  But this vogue moment would never satisfy an artist like Kaden who is a musician, talent scout, dj, party organizer and above all creative type committed to expanding his sound and that of his colleagues for more than a decade.

All that said much of Studio 10 remains a measured experiment within minimal house.  Whereas some works are complete with verses, solos, unique instrumentation others listen like sketches.  On “State of Stasis” an African American voice (Gjaezon) digs on the forward movement of his culture over an uplifting minimal house beat.  While at first interesting and bubbling after 3 minutes of dialogue the track effervescence pops and evaporates.  For my money, DJ QU and Joey Anderson’s “Thee Analysis” presents a much stronger, dignified approach to where Kaden wants to go.  The same can be said of “Kawaba” except it’s in the unfamiliar tongue of Japanese.  At 7AM it would probably resemble my thought patterns but in my cd player it is a different story.  That’s not to say his efforts are without merit.  The beats are sturdy and hold a utilitarian quality particularly on “Low Rey” and “Panic Stricken”.  On the latter, the piano accents, low voices, muted horn and verses (?!) give the track a completeness not found in more of the serial efforts of other prolific musicians.  Complete pieces are followed by quasi ambient house experiments which exist but for the whim of the opening DJ and his empty floor.  As a result the jazzy feel of many tracks appears more noodling than the brash, poetic statements of Daze Maxim on his “Others” Take 1 and 2.  As a result the measured effort travels great lengths to convey the studio as a palette to a masterpiece not just the masterpiece itself. 

Ultimately,  the uneven is far outweighed by Kaden’s very creative energy and unique take on the studio album. His direction, as he explains, is not deep house but new house. We furthermore agree and affirm with Kaden that new house is an emerging sound perpetuated by the afterhours aesthetic. Sounds like Kaden’s and his label not to mention Comeme, Welcome to Masomenos, or other craft labels give full reason to genre identification. Nonetheless for the genre to move forward the meandering expression must take on the laser focus of the Seth Troxler podcast and find a little bit of the vision found within the white label/Sandwell District camp. Difficult stuff to push boundaries, remain weird and still cater to the weekender up way past dawn. Still further difficult to present such a style of house to those who earn a W-2 income. Nonetheless we find Kaden square in the middle of the new house and hope efforts such as here in the Studio 10 continue to be released.

We suggest a thorough (if not more flattering) glimpse via this interview and track sample taken from the “pages” of Ibiza Voice.

Today’s review comes courtesy of Jay Simon, our latest contributor, and is the new Linkwood – System. The album is available, in addition to the formats listed below, via your itunes interface with the click of the word “buy”. We provide a link to the song “R.I.P” below the review. We will let Jay explain but 88ers give it a high endorsement. If you would like to contribute or have ideas to make this blog better do not hesitate to share at info@eightyeightdc.com. Thank you for reading!

Nick Moore aka Linkwood is somewhat of an anomaly in dance music. Despite the fact that he’s only put out about 5 tracks under his own name, since 2004 he has gained the reputation of one of the most consistent, and respected producers in underground dance music. As one of the key players in the raw deep house revolution, he, Trus’Me (owner and founder of the Prime Numbers imprint), Fudge Fingas and co. have put their own spin on deep house, and by releasing quality, uncompromising music through Prime Numbers, (and sub-label Firecracker) these UK producers have carved out their own niche in the perpetually bloated dance music scene. After the release of seminal tracks like the now classic “Miles Away”, and the beautiful ode to Minnie Ripperton, “R.I.P”, Nick had quite an act to follow. Thankfully, his latest album, “System”, does not disappoint. Ever expanding his sound, “System” traverses a wide variety of styles, from disco, to boogie, to deep house, to soul, to electro, to techno…and you get the point. An eclectic album from start to finish, Nick isn’t afraid to take risks, and in the process manages to produce an album fit for any dance floor, or just some late night vibin’. Fellow Prime Numbers label mate, Fudge Fingas provides some additional analog action on one of the albums best tracks, Fudge Boogie, a thoroughly authentic boogie joint that would make Leon Sylvers III proud. Another highlight, “Tears” features comedian Reggie Watts on vocals over a slowed down discoid funk beat with amazing results. Lastly, the title track “System” is sure to win over both jaded DJ’s and newcomers to the deep house sound. Bottom line, one of the best LP’s of the year. Get it now on CD, or for the vinyl junkie, the triple LP drops the 29th.

- Jay Simon

Here at the 88 camp we spend non dance music evenings (a rarity in this city) in quiet contemplation. While oggling the mesmerizing lights of Audion’s Hetacomb Light Show we pondered Kerri Chandler’s enduring influence on underground dance music. Raised on an ample diet of New Jersey legend Tony Humphries and the tender guidance of a DJ father, Kerri had little choice as to his direct immersion into the world of dance music. This upbringing ushered Kerri into a devout reverence to his craft. For example, Kerri prays before making a record and many remark that his loving details to the 4/4 beat resemble a spiritual connection to the music. In recent years with the return to minimalism and deep house, Kerri’s stock is again on the rise. With his Computer Games remixes and respins of his best work, he brings his trademark fascination with technology to the forefront once again. These 12″s compel us to consider our favorite tracks once again. We hope you will enjoy our unenviable task of choosing our favorites over Kerri’s remarkably successful 18 year production run.

If you have yet to log on to Facebook this week, or otherwise live in oblivion, Kerri Chandler and Sam Burns leave their sonic imprint on Muse this Friday courtesy of 88! Get your advanced tix here: http://kerrichandleratloda.eventbrite.com/

Oblivion:

Atmosphere:

Bar a Thym (one of Joe L.’s favorites):

Rain (one of local hero Graham Jackson’s favorite):

Hexidecimal:

Keep Me Inside:

4 D.D. (For Devotion)(I Want You):

All the Downloads:

Get your tickets and witness a true legend still absolutely devoted to his craft.

If you attended undergrad prior to the demise of Napster chances are very high a Kid Koala mp3 was somewhere on a computer in your dorm. It probably traveled through computers via that “music sharing” forum and so on and so forth. More significantly is how it probably appealed to everyone on the floor with exceptions depending on the popularity of Dave Matthews that year. His name was quirky enough for the indie group, his beats and skills solid enough for the most devoted urban beat head, oh and he is Asian making him a quick sell for another demographic.

And it was these three groups whose jaws dropped in unison last Friday. To hear a Kid Koala track as an mp3 through a small dorm speaker in a room filled with people shoveling pizza in unison does not verify his skill. It’s this unparalleled DJ skill that is on display at every show. As Tanc, Tiernan and Robert (old school dub caller) ended their show with the ever quizzical rag on 700 pages, Kid Koala set up a camera along his three turntables as he brushed aside his near shoulder length black mane. He explained the cameras were a part of his no frills act of combining old and new records on borrowed equipment without headphones and without strings to hold him down. The demonstration which followed was one part turntablism, one part rock act, and all parts stunning.

The setup for an act with such a diverse crowd seems to be the only challenge Kid Koala faced last night. His first record was a late thirties styled crooner digging on his obligation/parody of being a disc jockey. Kid soon kicked into a deep blues beat and again without headphones began scratching out a guitar solo. Whereas many turntablists shows are going to end with the scratching, the call outs and the introduction of vocal samples, Kid’s show begins here. The record sounds like a late fifties Chicago blues record off of the Chess label and with the help of his DJ Swamp guitar note record he coerces several front row audience members into a full on head bang.

But he did not convince everyone. After an amusing beat box pillow fight, he kicked into a show trademark, his mother’s favorite song “Moon River”. The song begins and a few couples begin a waltz while many wonder where this individual is taking their usually beat filled Friday. Kid Koala, with a knowing smirk, takes another DJ tool record with modulated notes and actually removes Moon River to manipulate his own rhythm and melody. The result converts all but the stodgiest of house head dancers with elegant, lathe rhythms looping as Kid Koala sways behind his turntables. Hoops and hollers follow as Kid Koala takes a humble bow while grabbing his next rock record. This time he chooses heavier rock with an indie dance beat. The result begins to get bodies moving. Significant here is that his manipulations are the sole source of the 4/4 rhythm and not the records themselves. He is juggling beats, guitar solos, and new melodies across blues, jazz, rock, hip hop, reggaeton, dancehall and dubstep beats. Again, no headphones.

Anyone still nonplussed to be standing and not dancing was converted as Kid Koala dropped M.I.A.’s Paper Planes. With the audience transfixed and at his command he traveled again across genres satisfying any music lover thoroughly. True credit here goes again to 88 on another class booking. Throwing an indie turntablist to the now discerning LODA crowd takes risk and with so many satisfied posts up already on facebook the reward will be realized soon. Moreover, LODA found a new audience last night in the indie, music lover crowd. As a result, we hope to see these faces again as 88 forwards its mission to move minds in new and interesting ways.

Post Script: Ringleader Deyv played to excited ears and we hope to see him behind the decks again!

Spread the wealth we say. For our faithful readers who withstand our barrage of promotion efforts (Juan Zapata tomorrow, Kid Koala Friday!) we honor you with links to our favorite podcasts in recent memory.

Tothebone Tama Sumo/Prosumer (http://www.tothebone.co.uk/ttbradio.html) Head down to the little cartoon girl touching what we imagine is an orifice and click on direct link. So Tama is about to drop what will surely be one of the year’s best mix CDs on one of the world’s most respected labels. Specifically Panorama Bar 02 comes out October 19, 20009 on Ostgut Ton. While Tama typically sticks to Germany and even then rarely outside of Potsdam province she took her fellow Pbar resident Prosumer over to ToTheBone radio in the UK, grabbed a roomful of partiers and had a jammy jam. The result is a great selection of 80s Euro Dance, good ol’ Chicago House and a few tracks off the new mix. Well worth the endurance through the stream is Levon Vincent’s exclusive track, Late Night Jam.

Save The Cannibals Seth Troxler June 2009 (http://www.savethecannibals.com/podcast/savethecannibals_22.mp3) Dropping somehow underneath our radar this podcast found constant rotation in the “last mix I listen to before I wake up and listen to music again” list. The reasons for doing so should become evident 5 minutes into the mix. Whereas Seth used a palette of then unreleased Wolf and Lamb tracks for his Ibiza Voice podcast in April, here he uses a seamless mix of shimmering effervescently light house. Light may be a deceptive term here as Seth injects his trademark suave and deep track selection. All the same these tracks just float drift wonderfully among each other for about 90 mins. As for a tracklist your guess is as good as mine. Last track might be Depeche Mode but I could be very wrong.

Wax Treatment 1 DJ Pete (http://waxtreatment.de/podcast/001/wax_treatment_podcast_001.mp3) Lots of dubstep podcasts have popped up, many with very good artists (Untold dropped a Fact ‘cast worth a look) but few will have the records to which DJ Pete is privy. With a day job at Hardwax.com, a one time residency at Tresor and a custom travelling sound system (true to the dub aesthetic) DJ Pete probably has a few records. On this first edition DJ Pete chooses impeccably among his white labels including then unreleased Moderat remixes and a new Shed subsolo mix. TIP!!!!!

Roof.fm Rebolledo (http://www.roof.fm/en/2009/07/14/rebolledo-comeme-kompakt-3/) Saw this picture and said my harddrive has room for this guy. My mind did not deceive me. On an already stacked roster of podcasts including Omar S, Anton Zap (TIP!!!!) and Planetary Assault Systems (Luke Slatersan), Rebolledo seemed the oddball out until one listens to his effortless smooth mixing. Combining deep Mathias Aguayo and Gradmaster Flash is no easy task and this guy does it (apparently) with an inflatable guitar.

We have many further suggestions so hope to visit you again soon.

As leaves begin to change we gather thoughts on the year and the copious number of reissues offered in earnest attempt to keep dance music thriving and more importantly people dancing. Below are ten such reissues bolstering the year’s new techno and house output.

1. Newworldaquarium – Trespassers – Delsin: One of the most recognizable and distinctive beats in the past ten years gets a fresh press on brown colored wax by the community minded Delsin label. While RA may find the enduring quality unheard of, we find it no mistake given how all of the parts just seamlessly glide together. Certainly that trademark pitched up quick double stab (wa wa) helps but underneath are vocal highlights, rough edged beats and focused ebb and flow creating a house track without age.

2. Untitled – Chez Damier – KMS: 1994 may have left many things behind (stone washed jeans) but thankfully not this hard edged masterpiece by producer Chez Damier. Geographically charting Chez’s sound you would probably put a pushpin right in Paw Paw, Michigan (exactly half way between Chicago and Detroit). That said we get the best of both worlds on this gem of a reissue. Issued in conjunction with several other vocal house tracks, Chez uses raw and rough sounds leaving vocals behind or barely existent. The results are tracks brimming with energy ready to be dropped on an unsuspecting 2009 crowd.

3. Norm Talley – The Journey – Third Ear: We include this track here simply based on the story we got straight from Norm Talley’s mouth at the DEMF this year. Specifically, Norm was set to play Panorama Bar at its peak time (5-8am) and was without this track (one of his trademark records). While he was able to procure a record in time an audience member took careful note and after a probably 30 second discussion The Journey came out on new wax several months later.

4. Robert Hood – Minimal Nation – M-Plant: If not valuable solely because raw techno is on the rise this year, then because this reissue seems to have brought new life into Detroit’s elder statesmen. With songs like SH101 and others fitting perfectly into 2009 techno sets, as do Robert Hood’s new gems like Obey and Superman. Again, another perfectly timed reissue stoking the embers in a forgotten techno hero.

5. Terrance Parker – Tribute to Ken Collier – Seventh Sign: Released every five years (like almost clockwork) TP’s loving tribute to Detroit dance music legend the 2009 go round fits effortlessly with much of the deep house revival (Alex Agore’s newest of 4lux to name one).

6. MJ vs. Todd – I Can’t Help It – White Label: July 25, 2009 opened a floodgate of remixers to have a go at MJs already swelled dance remix catalogue. Within this catalogue is an obscure white label titled Don’t Stop by TNT; issued as a white label in 2006. The record probably didn’t move all that well despite offering a nice edge to one of MJ’s great disco classics Don’t Stop Til You Get Enough. Now released in MJs wake it is coupled with a beautiful Todd Terje take on I Can’t Help It making this release rise to the top of the now several story stack of MJ tributes released already this year. We suspect the label behind this reissue is the same to release this gem .

7. Derrick May – 20th Anniversary of the Music Institute – NDATL: We call it Derrick May but Kai Alce, Chez Damier and others are present here to re release late 80s work representative of music spun from midnight to 6AM somewhere in Detroit. While some have an 80s stamp as distinct as any Autobot, others sound particularly fresh though the smell of mothballs may still linger. If you have the means (discogs prices are on the rise) we highly suggest you pick one up.

8. V/A – Daniel Wang Presents Balihu Pt. 2 [electric Boogaloo (sic)]- Balihu: Yale trained Daniel Wang does a much better job than this reviewer. Highly suggested! http://www.littlewhiteearbuds.com/between-the-bars-with-daniel-wang/

9. Leron Carson – Red Light Bulb Theory – Sound Signature: This label will probably remain famous as the conduit for Theo Parrish releases, however, when someone else’s work comes out Theo’s same artistic standard is typically met or exceeded. See generally Omar S Blown Valvetrane. This “reissue” features eight songs of proto Chicago noodlings from a 15 year old left alone with some drum machines and a cassette recorder. Brought current by Omar S, these remarkable one off excursions hark back to the era of Chicago house when dance music needed only a jacking beat and a two to five note melody.

10. Urban Culture – Wonders of Wishing – Eclipse Records: Carl Craig is behind this track and most internet sources for words on this track call it one of his best. It’s received several reissues since 1994 and nearly each release serve to complement other epic CC releases of that year. In 2009, this track shares the spotlight with CC’s ever expansive foray into classical (dance remix on Deutsche Grammaphon?!), jazz performance at Le Poisson Rouge, and of course the club (Angel Remixes!)

So your humble reviewer is not the most tech savvy follower of electronic music. Please accept this post as my humble apologies. We have MANY exciting reviews in the works to keep you fine people “in the know”.