Tune Of The Week: Wiley - Take That / Wiley feat Emeli Sande - Never Be Your Woman

Wiley's single 'Take That' was released at the end of December last year and stirs up a love-hate response within me. I find the chorus overbearing and repetitive, a defiant message to all of those who 'thinks he can't do it anymore' - is this the workings of a man who is responding to a bit of slander? And the tune is based upon his visit to a Bedford nightclub where he saw a member of the group Take That. Nice, catchy inspiration.

What I do respect is his return to the kind of production that fits in well with today and the fact that he's been here for 15 years is enough for us to know that his talent is continously being strengthened. I'd prefer to hear a lyricless version when out raving, as the dirty electro beat is enough to get the feet stomping.

However, he is receiving much critical acclaim for 'Take That' and I completely understand why. He observes the rules of a dirty electro bassline along with fierce lyrics and balances that somewhat with an upcoming release of his -which is more my cup of chai. Wiley collaborates with Emili Sande for a second time, previously having worked together alongside Chipmunk & Kano on the UK number 1 track 'Diamond Rings'. In their latest offering, the chorus sang by up-and-coming soulstress Sande is cut from White Town's huge hit 'Your Woman' and slots together with Wiley's rap as a dialogue of banter between two opposing sides. 'Never Be Your Woman' subscribes to a UK funky sound, with a rolling, bouncy house beat and soulful percussion - a perfect progression in the UK urban/funky scene.

Wiley's noticeable attribute that fairs well in such an interchangeable music scene is his ability to successfully weave in and out of the very structures of differing urban genres and for that I salute.

This below is the Solo's Love Garage remix and my CHAOON of the week.

Enjoy.

If you like this, check out the original and Herve's remix.

Peace.

BBC Sound of 2010: Ellie Goulding

I lay forth a little homage.

Congratulations to Ellie Goulding who today was crowned BBC Sound of 2010. It's fast becoming recognised as a stepping stone towards an illustrious career as a musician. Previous winners include Little Boots, Adele and Mika, who following their new found title have all gone on to have successful albums. This year, Goulding was closely followed by Greek-Welsh pop icon Marina And The Diamonds, Manchester's own suited and booted Delphic, more of Manchester's home bred electro from Hurts and New Yorker's The Drums.

This below is a dubadubdub remix of Goulding's 'Under The Sheets'.

Single review: Four Tet - Love Cry (Joy Orbison Remix)

Over two and a half years have zoomed on by since Four Tet released Ringers, a hypnotic tease of an EP that swayed towards an experimental, repetitive techno pulse. Hermetic Londoner Kieren Hebden this month released a new limited edition 12" before much anticipated full length album There Is Love In You follows on the 25th. His abstract approach to production amasses inspiration from jazz, hip hop, soul, folk and techno, whilst putting large emphasis on live instrumentation. It's the way in which Hebden defies genre that results in something so uniquely individual and abstract - taking the superlative nature of each generic sound and remoulding them in to his own innovative hybrid.

The A-side of his new single, 'Love Cry', reveals opposing messages within a 9 minute narrative; of sitting in a concrete room stripped of animation with only the pacification of regret and photographic evidence of a past lover for company, while a subdued bass-light melody induces you into a dream-like celebration, much like the result of his previous EP. The revealing, industrial intro is vacuous and distant, interrupted by a funky trip-hop drum roll, eventually dimming before a harmonious vocal sings 'love cry' - as if the two cannot be separated - echoing a reality of life. The rhythm stretches, lulling you into a trance before snapping you back to attention. Retrospective cries of 'love me' pulsate on repeat as if a desperate plea of the obsessed. A final surge of acid house blips lay the subtly disjointed message to rest.

Man of the moment, Joy Orbison, puts his illuminating spin on 'Love Cry' by breaking the vocal into a dreamy stupor and radiating it over a soulful, contemporary garage beat with hints of nu jazz. The vintage sound of a vinyl needle implies a pre-90's production, further warming you to the melody. Synth build ups drop into ethereal electro bleeps while Orbison keeps hold of Hebden's love of percussion, overall expressing a sense of freedom.

While his and Hebden's creations aren't what you'd expect to hear blasted through big speakers in an inside venue, they create an overwhelming atmospheric space in which you can kick back and let the mind float to it's favourite place, wherever you are when listening.

Enjoy.

Artist: Cragga

Who is this guy?

Up and coming, fresh and new, Cragga's sound seems to replicate the youth appeal of N Dubz, instead applying it to the urban dance scene. Take that as you may, his pop styled garage version of Crookers 'Day N Nite' and mellow dubstep remix of the Twilight theme are sure to be heard on a ringtone near you soon!

The surprise drop in 'The Postman', sampled from motown beauts The Marvelettes, is reason enough for his name to be thrown about. At least for a little while.

Enjoy.

Artist: Original Sin

Adam Tindall is rising high in the drum and bass ranks, though he hasn't always been releasing infectious beats under his solo alias Original Sin. His previous guise as part of Geordie duo G Dub became renowned locally and their skills didn't go unnoticed. Whilst performing at Area 51 his ability to positively demolish raves gained the much needed feedback from headlining acts, eventually being signed to DJ Hype & Pascal's Ganja imprint. He now leaves his individual footprint on the drum and bass scene, bashing out heavy stompers such as 'Don't Be Silly' and his remix of the Shy FX classic 'Rah'. Having released his first Original Sin LP last month called Grow Your Wings, his music is now out of the local and into the national.

This below is a track from said album and an example of his hypnotic work where a classic house vocal is cut and inserted over a junglist background, thrown in with some psychedelia, some soulful bridge undertones and a few subtle steel pan knocks.

Enjoy.

Single: Aquanote - Nowhere

This is not a review, nor is it an analysis.

Merely a reminder of a deeper, more soulful side to house music because sometimes the mind can align itself to a more bass-fuelled slag of a musical melody.

Strip it.

Lick it.
Relax.

Enjoy.

Tune Of The Week: Deadmau5 & Kaskade - Move For Me

Why has it taken so long for this track to be released?

Legendary producers combine their powers once again as Kaskade reunite with omnipresential Deadmau5 (or already did do many full moons ago) to release another house floorfiller. This, the first single released from Kaskade's critically acclaimed album Strobelite Seduction, captures the freedom of dancing with a strobe-masked stranger after a gruelling week at work where daydreams of escaping the mundane are a common use of wage earning time. While Kaskade showcase the sultry, cohesive side to this production, Deadmau5 projects his minimal house beat and signature uplifting synths, merging together their talents to form a slick and smooth finish. Following the massive 2009 release 'I Remember', fans may find this track a step down, nevertheless it is still a commercially viable radio pleaser.

Enjoy.

Introspect: One step, two step, brostep?

People become obsessed with lists around this period of merriment, and though I keep a hypocritical note of who's sold the most over the past year or who has been subject to the most pairs of used pants whilst performing on stage, I am purposefully u-turning away from New Year lists. What the new year is showcasing to me is an unpredictable music scene where anything is possible, much like There's Something About Jedward's hair, where technology will showboat it's speedy age process with touchscreen everythings and a hundred million* new online music stores, inevitably leading to the disparsement of CD's. CD's will soon become archaic if the growth rate of new technology is in ratio to the exclusivity of the brand spanking new TV bought over this Christmas season.

Lists aside, I will project my roaring excitement at what is to grace our every musical atom over the coming year. First and foremost, music is cyclistic, which in essence opposes my initial 'anything is possible' ethos but only ever so slightly. Electro has revived the 80's, persisting an urban splash of dubstep with every winning stride taken to the finish line. Dubstep has had an exceedingly progressive year and some would say it'll soon be over. That's not the prevailing opinion if you stumble through online forums where the 'dubstep is dead' sentiment is blown to bassy smitherines but overlooked by the cloud-like emergence of sub-generic dub, such as the elusive brostep. Yep, I asked the same thing - What the f***? Joe Nice, a Baltimore DJ who introduced dubstep to the USA, explains rather imperatively: "Brostep is not dubstep. Two completely different things. Two completely different sounds. Brostep is impatient, with a serious lack of bass and no real weight." It's quite easy to pass off any bass heavy tunes as dubstep these days, so the confusion that has been creasing brains up and down will eventually iron out in 2010, defined more by specific dub based spawns.

Dance music had a great 2009, dominating the charts for much of it with the likes of La Roux's 'In For The Kill' (Skream's Version), Deadmau5's 'I Remember' and The Prodigy's 'Warrior's Dance'. Chuck in a bit of Dizzee's originality and Calvin Harris's penchant for a floorfiller and you've pretty much summed up the domineers and high standards of the UK dance music scene. Dance as a collective genre seems stronger than ever.

(Take note of how I've left David Guetta off the list, even though it pains me to say, he should be commended for his world domination. Funny how the more overground he has become, the less I like him. Unfortunately, it's me against the world on this one!)

So what next?

Quite possibly rave. It may seem inevitable that sounds of a bygone rave era will again infiltrate our eager little minds and leave us holidaying in a reminiscent stupor of when house music really made an impact in a world that was in constant revolution. This relies on the cyclistic theory maintaining factual substance. Against the wars, famine and social change, rave music unified a youth counter culture through the incessant use of eye-widening drugs and illegal raves - it was a rave-olution in itself. And to think the foundations of this era blew up right here in 'Madchester' in a humble little venue known as the Hacienda. I look forward to the way in which DJ's will incorporate a tried and tested sound associated to the groundbreaking beginnings of an era and contemporise it so the youth of today can integrate it into their ever-increasing Skins-styled lives.

Maybe, just maybe, I'm looking a few too many years in to the future. What will happen in dance is an increased knowledge of house, a deeper subculture of dubstep and an evolution in drum and bass, incorporating broken beat, lo-fi and ambience.

Chin chin.

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* Not a true representation of figures.