The frenetic world of electronic music is full of distractions and diversions, hindering the ability to find transcendent music. Let Oggie James be your guru and lead down the path to musical Enlightenment.
Album, song and event reviews, mixtapes, and radio shows, light the way to Enlightenment, conveyed by Oggie James.
It's Friday, the weather is nice, and apparently, it's a long weekend, so I'm going to keep this edition of Enlightened Listening short and sweet. The first two releases aside, this week's playlist is packed with power and energy, headlined by a bunch of DnB, breaks and other uptempo tracks. There's more than a handful of Canadian stuff that I'll be sure to showcase further in the coming days, but of course, what I'm most excited about is the new Boy 8-Bit EP. While it's wildly different from the stuff he was making when I first fell in love with his sound, my tastes seem to have grown alongside his evolution as these three are each awesome productions (of which "Give It To Them" is my initial favourite). Dig into this stacked selection below and find each individual release linked at the bottom. Have a great weekend!
Breaking from their tech-house status quo, Friday saw Dirtybird deliver an unreal EP from man-on-fire, Nikki Nair. Further straying from their two-track EP pattern, Power Toolfeatures four inspired and ingenious productions that both; bridge breaks, DnB and old-school Dirtybird vibes, and apparently foreshadow "the label's future direction in 2021." So back to the future it is with this wicked EP.
Immediately awesome with its off-kilter groove and breaky drum beat, the EP opens with "Power Tool" which sets the scene for what I expect to be Nikki Nair's big coming-out party. Building around a sample from Notorious B.I.G.'s "Everyday Struggle," the title track is one hell of a screwface-inducer. There are no big drops or specific standout moments in this track, nor the EP itself, but rather the whole thing remains an incredible ride across a highly infectious and masterfully crafted Dirtybird debut.
Following the pneumatic power of the synths in the opening track, Nair scales things back in the subtle sophomore selection "In My Car." With a laidback acid energy and brooding beauty, it too showcases Nair's knack for crisp percussion and deft, understated style. And here I have to note its resemblance to the equally simple and equally satisfying Benoit & Sergio affair, "Walk & Talk."
Picking the energy back up as Power Toolturns to its second half, "3XL" again sees Nair use highly altered vocals around an infectious, percussion-driven track. With a dreamy and delicate baseline, this track may be the most immersive and progressive of the bunch as it evolves into a fabulous, acid-driven fever dream. Along with the title track, "3XL" is my favourite of the bunch and a surefire addition to my Best Of 2020.
Closing out this incredible EP, "Automatic" appears as a spiritual successor to "Power Tool," again utilizing some massive, body-moving synths atop a brilliant breakbeat. The rollout of this one is wicked and, like "In My Car," it reminds me of another old-school classic in the earthshaking sub-power of Boy 8-Bit's "Fogbank." Now, I'm not usually one to compare pieces, as they ought to be able to stand on their own, but I do so here to illustrate just how highly I think of these productions from Nair by comparing them to two personal favourite and timeless classics.
It's getting to be that time of year. Seems most publications have either already unveiled their year end lists, or are at least in the process of doing so. I'll push back a bit, in that there's still good music coming out and certainly some of it deserves spots in these year end reflections. That said, I still aim to have my Top 100 Tracks of 2018 list out in 2018, along with some kind of album showcase. But since the Top 100 is still in flux (at least in terms of placement), I've found that I've got a nice 18 leftovers which deserve at least the title of Honorable Mentions. So without further ado, here they are, sorted in alphabetical order by original artist, with brief descriptions after the Soundcloud playlist/jump.
Whether it's with unexpected gems in the return of Grandtheft or anticipated releases like that of Culprate's Others, Fridays never disappoint. Today's Enlightened Listening includes an epic orchestral tribute to the first 15 years of legendary label Ed Banger, the second single from Haywyre in as many weeks, an A-Trak remix on Defected, Boy 8-Bit on RKS, a brilliant Night Bass package, what seems like Booka Shade's dozenth quality release of the year and another ingenious EP from Djedjotronic.
This weekend while watching the sunset at Paradise In The Park during Four Tet's spectacular set, a familiar and incredibly unique sound started to break through the mix. It was that of Boy 8-Bit's brilliant "Action Break," which led to a further rush of endorphins as the crowd and I all lost our minds led by the unearthly, disco android genius. Flash back two days before that and my mind was already on Boy 8-Bit as he tweeted about a Roska Kicks & Snares release, which I was sadly unable to find. But today that UK Funky twosome sat atop my Facebook feed with Youtube previews posted below.
The a-side, "Raw Square" sees Boy 8-Bit ease us in with his typical crunchy percussive breaks before his sensational synths join the jungle of sound. Slowly sprinkle in some cheeky vocal samples and splices, an additional layer of cool, underlying chords, mix them all up and we're quite literally laughing. But as always, the best bits of a Boy 8-Bit production come in the second half as we get the rebuild, replenishing each element with a more warped and potent punch. Sliding seamlessly through sounds, we get that great raw Boy 8-Bit ethos via sick synth squelches and crisp, crackling design, with a distinctly funky, human feel. That organic feel arises again in the b-side, this time with an alien allure.
Sharing much of the same DNA, "Fractal" is a touch more spacious, and more drum driven than its predecessor. It feels as though you're in the science lab aboard a space ship, with a collection of wild samples and crackling electricity as experiments take place. Again it shows Boy 8-Bit's brilliance in blending the lead line and breaks, mixing them back and forth, leading to the same effect on the dance floor. It oozes with this classic rave vibe, a crowded club as feet fly and hips move in every direction at once, all under the spell of this strange, supernatural synth strain. Get the genius concoction that is Raw Square / Fractal, released Friday on Roska Kicks & Snares via Bandcamp here.
Regular readers will know of my affinity for disco edits, so the name SanFranDisko will not be a new one. This weekend he unleashed another awesome edit, removing the key change and quantizing the Canadian space disco classic from The Immortals.
I first came across "The Ultimate Warlord" in a mix from Boy 8-Bit a number of years ago and was immediately awestruck. It is a warm and wickedly epic organ-led dance number that sits at the intersection of fantasy and sci-fi. And really, what is cooler than that? It's like a lost sequence of Heavy Metal, and perhaps this isn't much of a stretch as the magazine the film was based on shares the same timeline as "The Ultimate Warlord."
SanFranDisko's updated, DJ friendly, edit lets the magic of the original stand strong, while removing the pesky key change, and planting each beat right on cue, making it easier for mixing. That said, the life and funky groove of the original is still present. Whether through the living and breathing organ, the slew of effects and vocals, or numerous swelling risers, you can see this epic creation emerging from its vinyl grooves. As with the majority of Paul Goodyear's edits this too is available for free download, here. FOLLOW SANFRANDISKO: FACEBOOKSOUNDCLOUDTWITTER
With the long weekend looming, I'll be away from my computer as I attend a bachelor party in Montreal. With that in mind I've decided to share my five favourite episodes of BBC Radio One's Essential Mix that we'll certainly be turning to as the party rages on through Monday. It of course serves as a Throwback Thursday post as each of these mixes original aired between 2009 and 2011, an era I'll forever find close to my heart. Find each five linked alphabetical order with short descriptions. Enjoy!
Alex Metric - April 16, 2011
This has been my exemplar for mixing and track selection, and is best described by the man himself as his past, present and future. Records that he grew up listening to and takes in "80s synth, funk, italo-disco, nu-disco, techno, house, electro, indie, [...] filters the attitude and feeling of big beat through it, [...] that anything goes ethos, [...] no genres, just good music." Picking one highlight is nearly impossible, as there are so many, but the combination of LCD Soundsystem's "You Wanted A Hit" and Yuksek's dub of Katy Perry's "Peacock" is still stunning. (Tracklist) Boy 8-Bit - May 14, 2010
An obvious inclusion as this is my favourite artist, but what can be said about this epic mix? The crate digging and mixing reign supreme, showcasing so many of my favourite productions, soon to be legends, and just downright dirty deep cuts (see the unknown mix of Detroit Grand Pubahs). Again a single highlight is tough to pick, but the move from the groove of Thomas Shumacher's "Red Purple" to Joe And Will Ask?'s "Rusty Pig" gets me every time. (Tracklist) Cosmic Gate - February 12, 2011
The only non-house mix in this list, and an oddity in that I had really never heard Cosmic Gate before this. That said I still turn to this mix incredibly often, there's just such a grandness to it that fills me with an immense energy. I use it for long bike rides or other extended travels, where I may need to focus for short stretches, but can still enjoy the overall epicness. The track selection is again top notch, with so many now classics. Dune's "Heiress Of Valentia" still sends me into a tizzy, but the move from "Zero76" to Tristan Garner remix of "Rapture" is rave resplendence. (Tracklist) Fake Blood - March 14, 2009
Quite possibly the first Essential Mix I ever heard, and it was because of Fake Blood that I became introduced to Boy 8-Bit. Fake Blood was bloghaus at its best, but he was so much more. His skills on the deck, undeniable. His ear for fire mashups and acapellas, perfect. His own productions, awesome. At times it is pure explosive energy and others, sublime and sweet. The sledgehammer to the face that is the trio of Zinc's "Blunt Edge," Lazy Jay's "Float My Boat" and Ink & Needle's "Tattoo Number Three" is stupid good. (Tracklist) Jack Beats - February 20, 2010
Another excellent example of handfuls of my favourite productions (from Jack Beats and otherwise) being brought together in incredible fashion. One hell of a start with their ridiculously wicked "Little Secrets" remix. But then there's what I've called the best 40 minutes of music starting from their remix of "Epic Last Song" through to Popof's "Serenity." Then there's the transition from "Peanuts Club" to "Donut" that still sends shivers down my spine. The release there with the drums and the depth of "Donut" underneath is almost more than I can bear. True and undeniable brilliance. (Tracklist)
Continuation of the list started Tuesday: from 100-76, which also includes my disclaimer/preamble. The second quarter of the list can be found here: from 75-51. Soundcloud playlist here and at the bottom.
#50: Biscits - M Night (Boy 8-Bit Remix)
(As featured on EFYE) The already exceptional original gets a great update from the brilliant Boy 8-Bit. As always, he's able to inject a great raw groove that combines jungle atmosphere with a techno twist. It is playful as it is powerful, crunching and crackling alongside its sublime synths. It feels like Boy 8-Bit at his best, working with a lighthearted sample and ingenious progression.
#49: Joe Goddard - Lose Your Love (Full Length Version)
While the radio edit (which you'll find in the Soundcloud playlist) was released last year, the full length version only came to light with the album. And this expanded edit is exactly what I love about Joe Goddard. It's expansive disco house vibes are beyond beautiful, with wells of warm organic instrumentation. The additional guitar becomes a love guru, gently caressing this uber cool creation. There is no act I want to see more than Joe, and I expect his live set up to be one of the best around. #48: CID - Believer (ft. CeeLo Green)
(As featured on EFYE) When I first heard this I was so sure that it'd blow up and become one of the biggest songs of the summer, if not the year. I'm not sure that's happened (35k plays on Soundcloud, 1.3 million on Spotify), but in my eyes and ears it is still one of the best to come out this year. CeeLo's voice is just as alluring six months later, and the production still shines with a wild glory. The piano, and additional island feels that arise in the second half are just so beautiful. Part of the reason some of these tracks make this list is that I've never had the opportunity to hear them on a big system, and I hope that it may help that happen; I can still only imagine the impact this one would have.
#47: Bryan West x R.O - Nightfall
Another technically 2016 release, but because it came after I released last year's countdown here we are. I can still vividly remember my first real encounter with this track. I was riding the subway and had to pick my jaw off the floor, when its superb story stunned me. I had to listen again and again, cranking the volume up with each repetition. There's just so much to like about this track: literally every sound, each subsequent section and the fantastic flow into each. It's big, beautiful and just oh so intoxicating.
#46: Krafty Kuts x Dynamite MC - Rev It Up (ft. Riya)
There has never been a time this track has come on and I've not been instantly lifted. It rivals any track on this list, or perhaps ever, in terms of fun energy. Krafty Kuts has built a brilliant bed for Dynamite and Riya to work their magic on. So many lines from Dynamite hit me hard, even if they're a bit silly. My personal favourite "After the party, I'll eat your pizza." And there's no ignoring the "pick it up, pick it up, pick it up, like engine number 9 we're revved up," call back. It may be the only cut from All 4 Cornerson this list, but if you like this I can highly recommend checking out the rest of the album.
The world of music is an endless, magical escape; it often leads me down rabbit holes from one track to another, via one artist, label or mix. In my previous post, I mentioned Boy 8-Bit's Beatport chart, which included an artist I was unfamiliar with, Bullion and his track "Blue Pedro." I've since been unable to escape the clutches of "Blue Pedro" and figured I better check out more of Bullion's back catalog. That's what lead me to his label DEEK Recordings, and their latest release, a compilation of covers entitled Covered In Gloria. And while it was already premiered over on Stamp The Wax, I couldn't help but shine further light on Thool and Marieke's cover of Joe Jackson's "Steppin' Out."
The original 1982 version remains one of my favourite tracks, with its stunningly simple yet strong piano hooks, and unrelenting rhythm. There's a majesty in its metropolitan atmosphere, and an incredible pride in the bounding strides of the groove accented by bright, sparkling bells and an almost twinkling piano presence. It holds within it both the elements of Night And Day, there's something very personal and down to earth about "Steppin' Out," while there's no questioning the message's universal appeal and instrumental's ascending, uplifting aura. And that's where I begin with this cover.
Thool and Marieke's version starts in the stars with alien atmosphere coming out the wazoo. While the new synths wobbles may not be as immediately gripping as the original, they lay the foundation for a more restrained, yet equally revealing, expression of the emotions inherent in "Steppin' Out." Even Marieke's vocals, while never more than subtle, seem to ooze over the whole song, covering it with an ethereal sheen. The whole delivery seems better suited to a jazz club than before, showcasing smooth musicianship and smart production sense. While the bones of Joe Jackson's original remain intact, the surrounding tissue has been remodeled, but still in the same depiction of the human form. Find "Je Sors" as part of Covered In Gloria, and if that turns your crank I'll make one more suggestion: Raf Rundell (half of The 2 Bears) and his take on Sade's "By Your Side" via Extraordinary Renditions.
Charts can countdown the top tracks or they can quite simply be a collection of recommended tracks, a al Beatport. Everyone's done one, even Obama. Of course that means you can't possibly listen to all the tracks on everyone's chart, but like mixes, the DJs behind them can become trusted taste-makers. That being said, I've been inspired to make my own 'chart' or playlist of recent favourites after having enjoyed nearly all the tracks in Boy 8-Bit's aptly named Boy 8-Bit's "Want You" To Buy These Chart. Note that like his chart, it's not necessarily all brand new productions, but rather productions new to me.Not much to say about the tracks except that they are all super strong productions, generally on the more relaxed housy side. Just some good clean fun. Also note that the final three tracks are only available via Soundcloud's annoying GO feature, but I've linked them via Spotify below.
There is no artist that I get more excited for a release from, nor move faster to the checkout in an online store from, than Boy 8-Bit. Most recently I've written about his remix for Biscits, here, and had the predecessor to this track, "Desirable," take the 18th position in my Top 100 Tracks of 2016 countdown. So it should come as no surprise that "Want You" has me dropping everything to share my enthusiasm for this latest piece of piano driven house from the brilliant one, Boy 8-Bit.
Right from the get-go we're greeted with the always awesome, and meticulously mastered percussion that Boy 8-Bit has become known for. It's crispy, crunchy, and all kinds of cool in its crafting, and better yet, it never stops progressing. Not bad for the backbone for the rest of this track. All that makes the first piano punch, and the fabulously fun groove that follows, even more effective. The core of Boy 8-Bit's productions always edge their way into your very essence. You cannot help but be moved at your most organic level. I think the best example of this is when the lead line transforms from piano to organ; pushing the groove into the pulpit, adding an angelic feel as though given directly from the gods.
However, and this is where I think things get complicated, there's a bit of a duality here in that electronic dance music has been seen as the devil's music (in part because of the stigma around 'raves' and the drug use/debauchery that comes with it). The organ has a bit of a "In A Gadda Da Vida" vibe to it, which always makes me think of the scene from The Simpsons (here). But back to Boy 8-Bit. As always, he is able to set up so many lines and loops that through their progressions play together perfectly, like a yin-yang. Each element comes together to make the whole greater than the sum of its parts. At worst "Want You" is a track worthy of inclusion in your club sets, at best it's a brilliant reminder of the good and bad in this world, and their essential role in the fabric of reality. Stream below and buy here.FOLLOW BOY 8-BIT: FACEBOOKSOUNDCLOUDTWITTER
Last Monday a teaser video appeared on Boy 8-Bit's socials (here). It showed 38 seconds of his forthcoming remix of deep house banger "M Night" originally from Southhampton's Biscits.
Apparently an ode to, as Boy 8-Bit put it, "the underdog," however we can read between the lines, and realize that it's about the "director of The Village," M. Night Shyamalan. The nearly 6 month old original holds some exceptional design, especially in terms of the depth of bass and delectable drum work. It also boasts a groove that is just about guaranteed to get your body moving, but for my liking it needed a little more of that M. Night magic, particularly a twist. Boy 8-Bit has obliged (although he thought about doing more), by adding his own vocal bits detailing Shyamalan's struggle with critics.
But this remix is more than just strong storytelling on a hearty house beat, it's got Boy 8-Bit's signature sublime synths that always seem to play perfectly with his crispy, crunchy drum kit. I'll be honest here, I'm gushing because I've loved all of Boy 8-Bit's productions ever since I first heard "The Cricket Scores" years back, but this really does have just about everything that I've come to love about Mr. Morris' music. The bass booms, the sneaky synth progressions, the distorted and disembodied vocals, and the explosive waves of energy in his drops. The only thing it's missing is the chiptune bleeps and bloops, but despite his name, Boy 8-Bit hasn't done much of that since his inception.From the overall soundscape, the onslaught of effects and playful power throughout, there's nothing that this track doesn't have. Add it to your own collection through your preferred service here.
Recently I remarked that seemingly all tracks tagged "Dance & EDM" on soundcloud are "unoriginal." While as per usual, I've been proven wrong. I'm glad I kept clicking on tracks with that tag, because I came across this hard hitter from Hybrid Theory. "JQ Riddim" is indeed original, and not just that, it's a wildly fun mix of bass(line) house and UK garage. I'd even go so far as to say its got a bit of fidget, acid and grime, but whatever you wanna call it, the groove laid down is godly. Just make sure you've got the subwoofer turned up. I think I like it so much because it reminds me of the 'good' old days where the majority of my musical knowledge referred to Jack Beats, Fake Blood and Boy 8-Bit. This could easily fit into any of their sets, as its playful poise washes over the dancefloor, demanding you dance. And how could you not be affected by this awesomeness. It's hypnotizing and exhilarating at the same time, a tough task to accomplish, but one they've pulled off with ease. Find "JQ Riddim" as part of Urban Dubz Music's Garage Futurecompilation, available here.
FOLLOW HYBRID THEORY: FACEBOOKSOUNDCLOUDTWITTER
I often consume music by playing the same few tracks over and over and over again. A select few tracks wake me up in the morning, clean me off in the shower, play me through making lunch, fine tune me before going out, or get me home safely. They are my most trusted tracks, and I feel like I don't share them enough, so here's five that I'm using right now. I've used Joe Goddard's album art above because these tracks are an aural home for me, their quality is comfortable beyond compare.
All of Joe Goddard's Electric Linesalbum is extraordinary, but "Home" is the best of the bunch. Just pure old school enjoyment. It's freeing and fun, filling my heart with love every time I hear it. It's got a cool music video to go with it too, watch here.
Better Call Saul had Todd Terje's "Alfonso Muskedunder" in this week's episode, and boy did it blow me away. The allure of this one is obvious. A 7/8 time signature with a mix of Frank Zappa and Pat Metheny, what's not to like? As above, the video (here) makes it even more enjoyable.
Came across "Emotinium" in a Boy 8-Bit mix for Annie Nightingale, and have been playing it nonstop ever since. That acid-tinged 303 line is perhaps the most mesmerizing lick I've ever come across. I like to think that Roy Of The Ravers is another one of Boy 8-Bit's many aliases (Roy Apron, R.D. Maurice, etc.) It's almost cracked my top 100 most played list already. Crazy considering its length.
Wrote about Leonce's "Flute Strike" (here) then found "Snakes" from the same InsurgencyLP. First listen had me handing out 5 stars, but I really fell in love when it came on during a bike ride. I had to hear that playful lead line again, it's so catchy I couldn't help myself.
"Nightfall" came to me randomly from the Friends IIrelease one night as I was headed to the club. Its beauty caught me right away and there was going to be nothing to stop me from hearing it again. There's some kind of magic that just grips me every time it comes on. Incredibly brilliant and beautiful.
Continuation of the list started Wednesday: From 100 - 67, which also includes my disclaimer/preamble. The middle third of the list can be found here: From 66 - 34. Soundcloud playlist can be found at the bottom.
#33:Maduk - Got Me Thinking ft. Veela
(As featured on EFYE) From those first strides of warm synths, and the accompanying bass grooves, the track picks up and continually gets steamier. It almost feels like a real band could play this, although they'd have to be operating at an incredibly high rate of speed. And boy would I love to see it played live. From Veela's strong yet ethereal vocals, through the endless groove, fabulous drum fills and playful progression, this track has everything. It gets me going and makes me hella happy.
#32:LDRU ft. Paige IV - Keeping Score (Cut Snake Remix)
(As featured on EFYE) When I wrote about the remixes of "Keeping Score," I called Oski's my favourite, since then I've changed my mind. Cut Snake have absolutely crushed and perfected the original (which too is brilliant). The foundation laid out by LDRU and Paige IV is beautiful, but the additional piano and fluid movement Cut Snake have injected is simply sublime. It's become the kind of all night party track that takes listeners through the gamut of emotions. It's smart, groovy and enchanting.
#31:A.G. Cook - Superstar
This track is built for lists like this, it literally has everything: beautiful vocals and lyrics, brilliant production, all wrapped together in an epic 5 minute journey of emotions. It's no secret how I feel about PC Music and their aesthetic, so clearly I'm a fan of the sounds their leader A.G. has used in this track, despite not being your typical PC Music track. Leaning more heavily on piano, live instrumentation, and Cook's voice, this track is an ode to true musicianship, that often seems absent in electronic music. Its beauty will have you reaching for the sky, hoping to grab a ride into the cosmos.
#30:Courts - Feel My Love
Right from the groovy pickup, Courts have crafted an absolutely captivating track. While it's a true electronic dance track, it (like many of the others on this list) features a ton of live instrumentation. That live element is so incredibly powerful, it's infectious from the fingers to the toes, and the head to the heart. It's one of the most fun tracks in this list, it has me grabbing for my air guitar and hairbrush microphone just to be a part of the band. It's impossible not to feel the love Courts are sharing.
#29:Stormzy - Scary (Slumberjack Edit)
(As featured on EFYE) This Slumberjack production is light years away from their other track on this list. Where "Open Fire" is kind and insightful, "Scary" is merciless and blunt. It absolutely hammers away at your senses, in the best way possible. It takes Stormzy's grime original and turns it into one of the most fire bangers of the year. It's diabolic is its delivery, leaving you stunned, stupefied and floored.
#28:Vera - Eeva (Sketch)
The beautiful tranquility of the flowing water in the opening, lays the foundation of this fresh and fully alive future bass track. It's at once like nothing I've ever heard before yet also so familiar. What would seem to be a cacophony of sounds couldn't be further from the fact. Vera is able to incorporate so much into one track, crafting unbelievable harmonies. Imagine Lido, Cashmere Cat, Ryan Hemsworth and Tennyson all worked together on a track, even then it might not match "Eeva."
With summer unofficially over, and my baseball team unceremoniously knocked out of the playoffs, I've hit a wall, not wanting to start the next chapter. As always, I find myself turning to music to not just lift me up and help me move on but to re-calibrate my body and soul. Music is incredibly powerful because of its inherent personal appeal; it connects listeners through a shared experience, but in the end, its strength lies in its existential capacity. Today I've compiled five tracks that ooze with groove, both literally (grooves in vinyl) and figuratively (try not to dance to these tracks).
These five tracks are full of funky disco vibes and show no shortage of uplifting energy. The first, Flying Mojito Bros remix of Crosby Stills and Nash "Turn Your Back On Love" came to me yesterday, as I was trolling the web for something to write about and immediately appealed to my love of old groove tracks. The content is killer from the guitar to the bass and the lyrics to the vocal harmonies. This is the track that inspired this playlist.
Fittingly, the V4YS remix of Marvin Gaye "Where Are We Going" followed the Flying Mojito Bros, via souncloud's related tracks feature. With that rolling intro, and bright keys the disco is strong throughout and is incredibly infectious. Grab the free download here.
Diving deeper into the disco vibes comes, The Immortals' "Ultimate Warlord." It's fun, funky and incredibly lighthearted. After hearing it for the first time on a long trip home, it woke me up and got me home safely, inspiring me to become "The Ultimate Warlord."
From 1979 to 2016, is Breakbot's remix of Fatima Yamaha's "Love Invaders," which sounds at home in either decade. It's an absolutely awesome slice of carefree disco funk, proving once again the combination of Breakbot and Fatima Yamaha is without parallel. If you like this be sure to check out their cross contamination "2GOOD4ME," which is also a free download.
Rounding out this five-some of uplifting funk, is one of my favourite tracks of all time, my second most played Boy 8-Bit production, and 7th most played track of all time, his remix of Vandroid's "Master and Slave." The combination of Boy 8-Bit's bleepy chiptune quality, playfully poignant percussion and awe inspiring, soundtrack-esque arc makes it the perfect capper for this playlist. I have gone to this track nearly a hundred times on my iTunes alone and will continue to count on it to change my mood and get me back in its inescapable groove. I just hope one of these five tracks speaks to you the same way this track speaks to me, and you can count on it the way I count on Boy 8-Bit.
Still to this day, I've never heard a remix that fits the original vocals quite so well. Right off the bat, its hollow, filtered sample strikes me as a perfect bed for Obie's lyrics, and reacts perfectly when Obie says come on, filling out that foundation. Throughout the track, Switch caters his production to suit Obie's inimitable lyrics and delivery. In a fashion reminiscent of Daft Punk, among other revolutionary producers, each added looped and layered sample compliments all those that came before it. I'm thinking specifically of the 'on-hold tone' beep that gives the track the feel that Obie is leaving himself a message reminding himself of what happened the night before. The constant utilization of effects, filtering, adding and removing samples add much needed depth to what could be an incredibly repetitive track. It remains one of my go-to tracks, when I want to impress my friends by reciting all the lyrics, as well as its constant and unmovable status in my 'dance-all-night' playlists.
As I like to do with my Throwback Thursday posts, I often refer back to the place/time I first heard the track in question. As I mentioned before, I first came across Switch's "Got Some Teeth" in DJ Touche's Essential Mix. And as is the theme, it remains one of my favourite and go-to mixes, in part because it showcases an era of electronic/dance music that I was never really a part of, but also because of Touche's incredible mixing of so many incredible tracks, such as Fatboy Slim's remix of Scissor Sisters' "Comfortably Numb," Mr. Oizo's "Flat Beat," the first ever Boy 8-Bit track "The Colonel," a mind blowing mashup of "Forgot About Dre" (starting just before 1:06:00), and maybe the only thing that could top that, Touche's scratch edit of ZZ Top's "Sharp Dressed Man" (starting just after 1:33:00). The way "Got Some Teeth" is sandwiched between two fabulously funky tracks in Pleasure's "Disco Doctor" and Dino's "Call Me," furthers the awesome arc of DJ Touche's set, touching on so many styles and genres. Highly recommended listening, especially with the extra time we've got this May 24th weekend, get the full stream from mixcloud here, and follow along with the tracklist, here.
This Throwback Thursday, it gives me great pleasure to once again revisit one of my favourite DJ duos, Jack Beats and their ever extraordinary production value. As a two part post, I'll first look back at their collaboration with vocalist John B, in "All Night," and second, still to this day, one of my favourite mixes ever, that just happens to start with that very track, a live recording of their 2011 set from Bang Bang night club in San Diego, listen and download here.
This post once again takes me back to the glory days of the Erol Alkan forum, which at the time led me to their live set, which hosted a number of then IDs, which turned out to be classics like their collaboration with Diplo, "War" and the incredibly hyped, aforementioned set starting track, "All Night."
It was immediately clear to Erol Alkanites that it was a forthcoming Jack Beats record, as it featured their trademark synths and subharmonic vocal manipulations, however it was the genius progression and perfect mood setting that had the forum followers drooling. Without a doubt "All Night," and the accompanying mix are quintessential Jack Beats; the duo's combination of incredible production value and songwriting from a single track perspective, and their unparalleled ability to combine tracks, and curate a top notch set that hits on all cylinders.
Listening back to this hour and half mix, gets me so excited to see Jack Beats, in just less than a month at The Hoxton, June 4th. It will be at least the 5th time I've seen them and I can honestly say that they never disappoint. Their mixes are always incredible, and as I look through my iTunes, I see at least 10 incredible mixes that never get old, whether it's their Essential Mixes (2010 & 2011), Promo mixes, for MixMag or their own EPs (Evolution Mix & Fabric Live), and even their live sets (Ultra 2013, Electric Zoo 2013 & Night Bass NYE 2015), there's hours of bass music to be enjoyed. Once again I've uploaded the 'Bang Bang Mix' for your listening pleasure, and remind you that tickets are still available for their show, here, while the facebook event is here.
When listening to tracks on repeat while writing about them the tracks often end up leaving a stale taste in my mouth. I'm always looking for the next palette cleansing track, that no matter how many times I've heard it, brings that incredibly fresh and satisfying vibes. There's no other way to describe Prosumer's Mysti Mix of Tiga's "Make Me Fall In Love." I knew we were in for a doozy when both Boy 8-Bit and Tiga, himself, tweeted professing their love of Prosumer's prodigious production.
For this week's installment of my Throwback Thursday series, it gives me great pleasure to re-upload and host, one of my favourite episodes from one of my favourite podcasts ever, the UK's Push Music.
While scrolling through my iTunes playlist looking for inspiration for last week's Throwback Thursday, I came across an incredible grouping of tracks. Wondering what it was that had encouraged me to download these tracks, I headed to google, searched for a tracklist and was instantly reminded of the Push Music Podcast. Bill Shephard, the man behind the Push Music moniker, always seemed to find the perfect balance between electro, house, new disco and indie dance, crafting some of the most forward thinking mixtapes, with just the right amount of retro throwbacks from the Talking Heads to 10cc/Godley and Creme. While many of the Push Music mixes still sound as fresh as ever, it is the third installment of the series that really does the trick for me.
Despite being a Halloween themed mixtape, I believe it could easily be consumed anytime you are looking to turn up. It's also the Halloween style atmosphere that makes this mix such a cinematic movement and journey. The track selection couldn't be anymore awesome and is only magnified by the incredible mixing that Shephard always injects into his podcasts. Starting with the line from Dawn Of The Dead, and a quick taste of Tears For Fears "Head Over Heels," the atmosphere is immediately established as we fall under the spell of Fake Blood's "The Dozens." Obviously Fake Blood's aesthetic is a perfect fit for such a dark, brooding mix and serves as a tremendous foundation to build upon.
Seamlessly, Goshi Goshi's "Ravin Cru," rises from the ashes of "The Dozens." It is Ravin Cru's combination of rough electro vibes and disco tinged guitars that so perfectly play the middleman to Fake Blood and Duck Sauce's "aNYway;" just another example of the organic, flow of Push Music's mix. Being such an electro head myself, I just wish there was a version of "aNYway" that had that raucous Ravin Cru bassline throughout. Regardless, Shepard improves upon the original of "aNYway" adding some depth with his smooth scratching. This helps to move us into DJ Zinc's "Blunt Edge" which is again amplified by some additional scratching.
As the mix continues with D.I.M. & Tai's "Lyposuct," we hear another film clip this time from Watchmen, the ominous and gory entry from Rorschach's journal, adds an even more evil flavour to the mix. Shephard continues to thurst the mix forward with scratching leading so superbly into the turntablist inspired, Riva Starr remix of Malente's "I Like It." Continuing to flow so naturally, Grum's "Heartbeats" seems to come out of nowhere. This section for some reason always reminds me of Michael Jackson's "Thriller" video, invoking some sort of unholy rave. This is only magnified by the fact that the next track is A-Trak's legendary remix of the Yeah Yeah Yeahs "Heads Will Roll."
Furthering the cinematic horror motif, the mix delves further into the darkness of Designer Drugs' Saw aided "Drop Down." Ingeniously, Shephard mixes into Light Year and Jimmy 2 Sox remix of Toecutter's "Best Party Ever," making John Kramer happy by making his listeners grateful for being alive. "Best Party Ever" is a much need reprieve, a breath of funky fresh air. This funk continues through the classic sample in The Count's remix of Trevor Loveys' "Organ Grinder," and into the inescapable magic of Boys Noize's "Jeffer." This is followed by one of my favourite transitions, and while it isn't the most smooth flowing of the mix, there's something about the intoxicating tones of Boy 8-Bit's "Spells Of Deception" remix. It so perfectly mirrors the vocals "cause you're so cold," that the seemingly cold drop in and invasion of "Jeffer," that so wonderfully underscore the next level genius of Push Music's mixing.
Aided by another horror film sample, this time from The Evil Dead, Shephard moves into DJ Mehdi's remix of the Sebastien Tellier track "Oh Malheur," which seems evaporate into thin air. Rather, it evaporates into INXS' "Never Tear Us Apart," which at the classic silence drops into "Hell With Gravity." This time it'sa line from Donnie Darkothat accents the thumping evil of Just A Band, before the incredibly awesome transition into the second Fake Blood track of the mix, "Fix Your Accent." It too plays a perfect middleman between "To Hell With Gravity" and Alex Gopher's remix of the Kid Sister track "Get Fresh." The combination and overlapping of tracks gives the mix more of it's inescapable continuity, tied together so perfectly with the continuous scratching. Pushing through Zombie Nation's percussive "Worth It" and the bleepy Herve and Kissy Sell Out "Everybody," the mix is beginning to feel complete as it reaches the depths of Pepe Bradock's "Deep Burnt." But as a kind of cherry on top of the mix, Shephard blesses us with one final twisted track, in the form of VNNR's room shaking remix of Depuis91's "Erothiq."
It's been such an awesome experience reliving this masterful mix, and I highly encourage you check out more of Push Music's podcasts, and they are plentyful and always live up to his incredibly high level of ability. I've added the m4a file, complete with chapter markings, to my dropbox folder so you can download and listen at your leisure, link here. Get more from Push Music below.
