What appropriate timing to make an entrance to The Warehouse Project, a definitive moment of the night for many I’m sure, that of Joy Orbison’s 'Shrew That Cushioned The Blow' mixed wonderfully into ‘Hyph Mngo’. Nice. And no better does it sound than in this moment right now, surrounded by mash-faced revellers and stunning lasers that silhouette arms twist shapes for.
As the night’s progressing, the young crowd respond to Katy B in her newfound modern icon status, with 'Perfect Stranger' proving to be the best of the night so far. Flying Lotus supplied us with edgy, experimental hip-hop sounds that only the die-hard fan missed the bar to see. And Magnetic Man prove their supergroup status, and true to their name the people swarm and squash to see this forward thinking, 21st century boy band. Or is that man band?
A few random video selections that can't really highlight the superiority of this night but can let you in to the brilliant production of a Warehouse Project show. Enjoy!
It’s nearly time to announce the winner of the definitive DJ poll with a massive awards party. Get ready to party with the Number 1 DJ in the world at the Number 1 club in the world! The newly crowned World’s Number 1 DJ, will proudly be transported by helicopter (swanky!) from London to Manchester in time for the final set at Sankeys.
Completing the Manchester line-up, Gareth Emery, Ferry Corsten and Mat Zo will be smashing it out before the winner touches down to round off proceedings, whilst Sankeys residents Greg Vickers, OD Muzique and Ellesse complete the night’s musical showcase in the intimate upstairs room, Spektrum.
So with undeniably the hugest line-up of the year , The Top 100 Winners party looks set to cause one of the biggest roadblocks ever seen in Manchester.
We'll be there so look out for news later in the week. Just who will win? Let us know at newsicmoos@yahoo.co.uk or on Twitter @newsicmoos.
Wednesday 27th October
The Worlds Number 1 DJ, Ferry Corsten, Gareth Emery, Mat Zo & Greg Vickers
Champion Records duo The Squatters (Alex Powell and Oliver Portamento) are to release their next single entitled 'Superfly' on November 15th - be sure to support them by buying the release! Or, why not download a remix of it for free right here? Their glitchy beats and breaks combined with top synth sequences and volcanic bass lines are reverberating through the UK dance scene. Latest single is a fresh take on Dutch house featuring lyrical talents of Dutch Courage, whose vocals turn and bend into rhythmic percussion in true Squatters style.
Release: 15th November 2010 Label: Champion Records Link: official // myspace
The Squatters can be found supporting Kissy Sellout on his San City High Tour - and following a night at number one club in the world Sankeys, we caught up with the team for a mini-interview.
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How did the Manchester crowd respond to your tunes?
Amazing! Being from the north we kind of relate to the scene alot more and know which of our tunes go off more than others.
Does Sankeys live up to it's "number 1 club in the world" status?
Most definitely - the size is perfect, not too big and not too small. The sound system is amazing with the JBL custom-built Larry Laven bass cab setup (as told by our technician!). The vibe of the venue is living up to the top shelf reputation.
Where do you draw inspiration for your sound?
Our inspiration comes from many avenues such as past events we have played, other inspiring artists, oldschool sounds and even fashions and trends.. As long as it's jump up party style and not deep or depressing.
What can we expect from The Squatters in the near future?
We aim to deliver plenty more tracks like 'Superfly' and 'Drop', which are out this November. Also working on our live performance, incorporating samples and live elements to accompany our DJ set, taking visuals and audio to the next level.
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We thank The Squatters and Champion Records and remember 'Superfly' is out November 15th. Buy it!
Southern Fried Records release an EP from a couple of bears, who after listening to this EP, don't emit any kind of cuddliness. Though Hot Chipper Joe Goddard isn't a stranger to them hypothetical cuddles, having encompassed a strict following from Hot Chip fans. A fine release, take a listen, and a buy.
Dark and rhythmic, this latest effort from the Scandinavian duo (moonlighting from their dayjobs as members of the Danish band When Saints Go Machine) eases in with a gradually layered chorus of manipulated vocal samples, before settling into a glossy and intoxicating beat.
Only the Scandinavians, it seems, have the ability to make music so simultaneously positive and morose, up beat and down tempo. I guess it's a trick you learn when faced with an eerie twilight during the summer months and a pitch black winter. It's influence is well represented by the ponderous bass in this track, looming over the rest of the track, threatening to envelop all that is there, whilst simultaneously providing the heartbeat that keeps the song moving.
The whirl of contradictions this song brings up as it rushes past my ears are almost beyond my powers of articulation, and with the disembodied vocal line whispering about 'interstellar frequencies' and 'falling stars', the intoxicating power of the song becomes clearer with every listen. It's ethereal, otherworldly and, unlike most electronic music, emotive. Fans of Gold Panda, The Field and Tensnake should certainly apply within.
It's been a nice week for Manchester with lots going on culturally; Manchester Lit Festival, Blog Awards, launch of the Levenshulme Festival and of course the Oxjam Takeover. It will take place in various venues across Manchester, so the best thing to do is check out the blog or the myspace page for more info. It's for a fantastic cause so try and get down to at least one event fellow Mancs!
Friday, 22nd October
"CONTENT 1st BIRTHDAY @ JOSHUA BROOKS" with KENNY LARKIN (A taste of Detroit techno)
BENNY BENASSI, CONGOROCK
Saturday, 23rd October
"MORE THAN ALOT" @ THE WAREHOUSE PROJECT Line-up: Chase And Status, Grandmaster Flash, Scratch Perverts & Dynamite MC, Stanton Warriors, Nero, Redlight + more ...includes special guests Beardyman & Prophecy! BIG! Our PICK OF THE WEEKEND. We'll be there, will you?
"DUB N BASS" @ THE CONTACT THEATRE Line-up: Trojan Sound System
‘The Cycle’ is yet another release to feature the vocal talents of Riya who has quickly established herself as the go-to girl for many leading producers such as 8bits and Total Science... and now Skream. Taking time away from the juggernaut that is Magnetic Man, Skream has taken his foot off the pedal with this release using Riya’s beautifully soft and soothing voice to create a track that could be best described as ‘melancholy electronica’, which is coming to prominence under the huge spotlight focused on wonderkid James Blake. Whilst the A Side ‘Seems Like’ is a radio friendly modern soul track, the AA Side ‘the Cycle’ is a different beast altogether. Working along a chugging backing track, her vocals loop and cycle their way round the Rhodes chords and the pumping bassline. Its beat initially gives you the impression that it could go off; however her voice quickly establishes itself at the forefront of the track. At one point you feel like she’s teasing the beat to move into something else 'You say you will/but I know you won’t'. Autonomic has built a reputation on using and releasing quality evolutionary music (to put it in their words) and they may continue that path if they continue to use/discover talent like Riya. I’m confident that this won’t be the last collaboration to feature her exciting talent.
Manchester’s two premier dance music events The Warehouse Project (WHP) and Parklife have rightfully been nominated for UK Festival awards. And Manchester wants your votes!
WHP is up for ‘Best Metropolitan Festival’ and Parklife is up for ‘Best New Festival’. It’s a fitting tribute that a city steeped in such a rich musical heritage should have its two foremost dance music offerings acknowledged in this way. The Warehouse Project is now in its forth year and continues to push the boundaries of music, putting on at least two blinding weekly parties from late September all the way through to January 1st. Parklife is the new kid on the block, having made its first appearance this summer and selling out in only 6 weeks.
Voting closes on Wednesday 27th of October so get your skates on.
Click here to vote for WHP or Parklife in the UK Festival awards. Then see below on how to enter.
All you need to do to be in with a chance to WIN tickets to a showstopping Annie Mac Presents at The Warehouse Project on November 13th is email newsicmoos@yahoo.co.uk stating your name, age, email and contact telephone too. Write 'competition' in the subject line.
This is where we feature some of the best singles that have been released this week. Let us know what you think! newsicmoos@yahoo.co.uk
Also, follow us on Twitter and we'll love you forever :)
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Triad - 'Spellbound'
With classical training and an affinity for analogue synths, Triad stand out from their peers who are still content with churning out identikit songs with no room for innovation. Critics who accuse DnB of lacking the imagination and innovative spark of other electronic music should be silenced by this intelligent and mature track.
The German trio combine their skills effectively to produce an array of crisp percussion and wicked sub bass, driving the song forward without ever losing the subtlety which characterises it and makes it stand out from the crowd. The sinister bassline at the end of the song is a personal highlight; a small island of madness amidst the relative calm of the song.
Having never been convinced fully by DnB (and maintaining throughout my teenage years that every song sounded the same), this track could very well turn me over to the dark side. If 'Spellbound' proves to be indicative of the raw talent and skill found amidst the ranks of DnB producers, then there's hope for us all yet! Truly stunning.
Released: 18th October 2010 Label: Engine Music Words: Darcy Mitchell
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Peverelist & Hyetal - 'The Hum/Rrrr'
Forever consistant, next up on Bristol based imprint Punch Drunk Records is the collaboration between label head and scene veteran Perverelist and one of the rising stars of the Bristol second wave Hyetal. The release of 'The Hum' follows a dazzling run of big productions for both artists, Hyetal stamping out his sound and garnering much acclaim for his Orca 12" Phoenix, as well as his Short Stuff collaboration on Punch Drunk, earlier in the year. Likewise, Perverlist dropped the awesome 'Better Ways Of Living' to a glowing reception recently, and let's not forget the original pairing of these two with Peverlist's stunning remix of Hyetals 'Pixel Rainbow Sequence'.
As to be expected in a collaboration between two totally unique and distinct artists, each of the producer's trademark sound are very much apparent and complementary of each other. Hyetal's emotive and melodic based synths and wonky melody lines shimmer and swirl effortlessly over Perverlist's distinct tribal-synced percussion and ground shaking sub bass to amazing effect. Both interesting and inspiring, the track is full of intricate detail. Heavy kicks, stabs and snares energetically propel the track from start to finish, while a clever conga line of drums drop following a beautiful burst of dischordant synth, creating a deep hypnotic rythym. A track that will have wide ranging appeal in dupstep circles as well as attracting house and techno heads, 'The Hum' has an eerie but uplifting introspective mood to it, brought on by its melancholic melodies and bright emotive synth tones. A sound perfect for the dubstep dancefloor.
Released: 18th October 2010 Label: Punch Drunk Records Words: Rupert Worthington
*****
Starsmith - 'Give Me A Break'
Starsmith has been a busy dude over the last couple of years, remixing the likes of Katy Perry to N.E.R.D, as well as producing and writing for Kylie Minogue and Ellie Goulding, to namedrop but an illustrious few. On top of that he brings us a killer of an EP. After giving many pop princesses a slick synth makeover he turns to releasing his own work 'Give Me A Break/Knuckleduster' EP.
'Give Me A Break' is a catchy and fun electro-pop song with a buzzy synth lead that will warm your little cold winter faces. The vocal is so simple a monkey could have wrote it, yet looping the short burst of lyrics is all that is needed; 'Got my education/got determination/got imagination/come on give me a break'. 'Knuckleduster' doesn't provide the same kind of reaction, but in terms of 'Give Me A Break', Starsmith is onto a winner. Keep an eye on Starsmith's work, this guy is getting big!
Released: 17th October 2010 Label: UIR Ltd Words: Sonny Van Loef
Camo & Krooked tear it up on our Tune Of The Week with this disgustingly dirty track off the highest of shelves. 'Can't Get Enough' is a relentless onslaught of drum and bass majesty which bulldozes itself through speakers before smashing the room to pieces. With each drop the crunchiest of synths detunes for your pleasure over the simplest of string licks, whilst some euphoric piano work calls upon the spirits of the early 90's before destroying it in a blaze of glory. Miss this tune at you peril.
A very sultry, deep tune, vocally orientated - something incredibly nocturnal about this track. 'Feel that night air/flowing through me' - it's rather eerie too how this electroacoustic tune falls somewhere between relaxation and psychotic insomnia. Beautiful nonetheless. Much like his other Fink-like productions, he's definitely worth checking out and one to watch.
If there's an urge to label this tune under any specific genre because that's what we as humans feel the need to do, then welcome to a little bit of 'future garage'. A very cool tune presented by Kode9 (Steve Goodman), or the big chief at label Hyperdub.
This is a beautiful, beautiful track by Canadian Chilly Gonzales (Jason Charles Beck), taken from latest album Ivory Tower.
Jason has showcased his piano playing skills through previous releases, most noteably his 2004 album Piano Solo that details a novel narrative through the power of those black and white keys. There's no surprise to his flawless instrumental talent as he started playing piano at a tiny age of 3, and whilst that is impressive, in 2009 he broke a world record for the longest solo-artist performance that clocked up 27 hours 3 minutes and 44 seconds. Un-be-lievable.
'Knight Moves' amplifies such mastery; the introductory piano instantly captivates and draws attention, pulling at emotions and somewhat lifts you out of the menial everyday. He speaks nostalgia through the piano, mixing apathy with schizophrenia - quite an oxymoron. A steady and relaxed beat is startled by an unexpected embellishment at 1:41, whilst choir-like vocals add a retro depth and strings comsume the anti-climax of that break; at 2:42 all instrumentats that are used merge with an elegance seldom found is such projects. By the end of this overload of melodic tranquility, there's a sense of honourable accomplishment, as though something has been overcome - a message to view the world in widescreen. It's as if this track is in the honour of somebody, a soundtrack to said person's existence, a homage to love.
This was released in February 2010 on the Baby I'm Yours EP. With Daft Punk vocal distortion, a funk-soul upbeat melody and relaxing piano, the distinctness of Breakbot's sound is ever so refined.
Enjoy!
Released: Feb 2010 Label: Ed Banger / Because Music
I'm a tad depressed that I've only found la Zebra recently - and I've missed out. But fear not, I tell myself, it's never too late to find good music. This California one-man-artist translates our gloomy British view of California through the ray of sunshine beats upheld in this tune - a sort of Daft Punk crossed with the older work of Armand Van Helden, but by no means any less individual. The title is quite apt; I started to think just how did they get Michael Jackson to provide vocals? Playing with my mind, indeed. The soulful break is an unexpected disco delight, which leaves more space for an uplifting Californian house shimmer.
Enjoy.
And this be the remix of an old time classic 'Evil Woman'.
As found on Annie Mac Presents, these former history geeks lay forth yet another blinding single, set for release in November. The intro is an aqua-syrup concoction and forms a distinct and generically indefineable TEED sound, with lyrics that make apparent the aim of easing up the sadness of a lost soul (forgive me if I'm wrong/but you look sad all alone/so give me a shot/cuz i could be/a dog to your bone/or something). I'm sure we've all been there TEED.
Enjoy this nostalgic yet avantgarde Hot-Chip-alike.
Mustafa provides for us that blend of hypnotic beats and soulful vocals with great lyrics, though both do contrast. In a good way. Just listen and buy.
As a new feature, we are going to showcase some of the latest updates of remixes as scrolled on Twitter.
Let us know what you think on Twitter @newsicmoos OR leave a comment by clicking on the link at the bottom of the post OR email newsicmoos@yahoo.co.uk.
A heavy weekend is here in your faces. Hello Manchester weekend!
Have a good time! Follow us on Twitter.
Peace, love and biscuits.
*****
FRIDAY, 15th October
"TAKE THE WHOLE CAKE LAUNCH PARTY" @ SOUND CONTROL Line-up: TODDLA T, HOSTAGE, BROOKES BROTHERS, CYANTIFIC + more...
"SAN CITY HIGH TOUR" @ SANKEYS Line-up: KISSY SELL OUT, THE SQUATTERS, ART VS SCIENCE + more...
"MINUS" @ THE WAREHOUSE PROJECT Line-up: RICHIE HAWTIN + more...
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SATURDAY, 16th October
"ISOLATE LAUNCH" @ SANKEYS Line-up: DEETRON, STEFFI, WOLF & LAMB SHOWCASE FEATURING NO REGULAR PLAY & SLOW HANDS, JOZEF K
"LOWDOWN + DIRTY" @ SOUND CONTROL Line-up: TREVOR LOVEYS....
"TWISTED ELEGANCE" @ VENUS 8TH BIRTHDAY
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WEDNESDAY, 20th October
"PROSTITUTES AND POLICEMEN VS DROP THE MUSTARD" @ SANKEYS Line-up: COUNT & SINDEN (Mega Mega Mega Album Release Tour), STYLE OF EYE, ROUND TABLE KNIGHTS...
One half of production duo Velour and Bristol resident Julio Bashmore is back with his third solo release Chazm/Footsteppin’ on Ten Thousand Yen Records. First up is 'Chazm' which sees Julio step into his funky shoes, starting off with a kicking 4/4 bass drum riddled with hand claps and tribal drums. Julio throws in a dark swirling synth line that when drops is a definite eyes down moment for anybody on the dancefloor. On the flipside 'Footsteppin’' takes you into 2 step/garage territory with the intro sounding like it’s straight off Gold Panda’s cutting room floor. Bashmore adds the ever essential looping of female vocal and laid back garage rhythm.
Don’t sleep on this one folks as 'Chazm/Footsteppin’' is number 3 in a 5 part series of coloured and numbered 10” vinyl and is part of an exclusive 350 vinyl-presses, so don’t say we didn’t warn you! He's also lined up to do remixes for Mosca and The Martin Brothers in the near future, 2011 looks bright for Bashmore.
Enjoy!
Chazm
Footsteppin'
Released: 4th October 2010 Label: Ten Thousand Yen Link: myspace // Words: Simon Edwards
As producer and percussionist in the Mercury Prize winning band The XX, Jamie Smith is riding on a wave of both critical acclaim and mainstream success. Now, he turns his skills (well honed in DJ sets across the country, one of which I was lucky enough to have witnessed at Area 51) to his solo project, which has been imaginatively called 'Jamie XX'.
'Far Nearer' is built around the calypso vibes of a kettle drum, which drives the song forward and doesn't get overpowered by the electronic elements of the track. Consequently, the song has an organic, chilled out vibe which lends itself well to some background music action. But, where other Jamie XX remixes concentrate on vocal lines (His rework of 'You've Got The Love' and the XX's own 'Basic Space' being notable examples), this is beat and bass orientated, so much so it's easy to imagine it being dropped in a busy club with consequent and possibly obligatory shape pulling. It's something sublime and rare - a track audacious enough to connect to two different audiences - those coming back from the party and those just about ready to get started in the revelry.
The future of the genre 'dubstep' is confused, as is the definition of that very word. With terms like 'future garage' and rumours of a 2-step revival afoot, precisely where to place this track amidst the shifting paradigms of genre is uncertain. What is certain is that Jamie XX continues to be at the forefront of innovative and original electronic music on this fair isle, and 'Far Nearer' is a great example of the potential he has when torn from his monochrome bandmates and presented as a solo artist.
Taken from Chronic Records latest EP Big, Bad & Heavy, Vol 2, Zero T & DJ Ruffstuff bring forth this soulful-dirty clash for a decent drum and bass production. Just here to let you know not to miss out on this beaut. Big love to the Chronic peoples. Buy this mind-opening shit right now.
Colin Bailey puts right a lot of the wrongs his countryman Calvin Harris has inflicted upon the reputation of Scottish dance music with this insistent and snarling effort. His work as his enigmatic stage persona Drums of Death is defiant and confrontational, and it's easy to see why Peaches chose to collaborate with him on their 2009 mixtape.
Although many (including myself) initially dismissed his efforts as overly conceptual and not worthy of the hype, I find myself eating my words as the track goes on. 'I Won't Be Long' is simply explosive with drumbeats stolen from an M25 rave building up to a thrilling crescendo at 2:26. It backs up the reputation of his frenetic live performances (and freakish badass street mime/zombie costume) have garnered over the last 12 months.
Every part of the track bursts with life, albeit life with a dark Gothic edge. So, although the song is filled with big organ riffs and throbbing percussion, it retains something malevolent bubbling beneath the surface - much like the heavy make-up Bailey hides behind at live shows. It's an oxymoron - that something so dark and sinister can harbour so many lively sounds within it. It's now that the name 'Drums of Death' makes so much sense - the drums being the ever beating heart of the track, upbeat and positive, with death always just on the horizon of thought. A brave effort.
I've noticed a common formula within any given Tony Lionni tune on his latest, and in our opinion, greatest album, that formula being; a minimal, encapsulating introduction leading onto light drops, with a mixed amount of ascending crescendos, choppy vocals and soulful undertones. This may be the formula in the most simplest of terms, but each track draws out a new sound of production and in turn oozes a new feeling along with it.
Opening track 'Distant Memories' epitomises its own title magnificently, through minimial, swooshing synth acscention to a contrasting funk bass and a gas cooker ignition-like snare all makes up for what feels like an audio-manual on the various tools for impeccable production. 'The More You Give' throws about outworldly sounds, and eludes towards an ethereal take on house until the climatic 3rd crescendo where extra percussion accompanies the drop and it feels as if we are witness, through our ears, to the waking of a sleeping beast.
There's a fluidity within Lionni's album, signified by the aqua summertime sounds in 'Waiting For You' through to a sparkling and relaxed vibe on 'Out Of Sight' and the piano as a focal point in 'Found Another Place'.
There are a couple of stand out tracks that are the pinnacle of Lionni's sound. The first being our Tune Of The Week not so long back called 'Precious' with vocals from Marvin Belton that when blended with the house hook sounds fantastic. The introduction to 'As One' is beautifully delicate, with prominence on the xylophone and soulful key undertones.
Lionni's music allows time for the mind and body to ease into, spacious sounds and build ups in the most simple ways help clear the mind.
Both MJ Cole and Wiley are institutions in themselves so there are high expectations for such a colloboration. Wiley's lyrics splurt about himself self-affacingly and I'm unsure if many people can relate, though we can try and understand. The unnerving minimal melody serves as a sound of underground production, topped off with rolling tribal drums. I sense a slight bitterness in the lyrics 'I'm the one laughing... now I bet he wishes he was here with the team, laughing.'
Strong week of noteable tunes. This is where we gather a few of our favourites from the week and give a constuctive opinion on it - just in case you didn't know. Great reviews posted by our contributors. Keep with us for an updated site coming soon as well as other exciting progressions...
And follow us on Twitter. We'll love you forever! And comment peoples! :)
Munich-based label Permanent Vacation has been churning out quality release after release for a while now and much to my surprise, label owners Tom Bioly and Benjamin Frohlich hadn’t actually released anything themselves until last year. Sharing a name with the label, their first 12” 'Tic Toc' was a straight up disco delight featuring label mainstay Kathy Diamond. On the reverse, 'Zuckerhut' was a high tempo Balearic stomper designed for the late night sweaty dance floor. With the label clocking up over 50 releases, it now feels like the time for a reworking of 'Zuckerhut' as a little commemoration. On the flipside of the release, Barcelona mystery man and label mate John Talabot puts his customary shine to polish up the track into a synth heavy house rework. Talabot may try his best to keep a low profile, but after this special remix he may well struggle.
Some gorgeous house to be found here as Sweden’s Rasmus Faber delivers his remix of Ananda Project’s ‘Beautiful Searching’. There’s an abundance of soul that oozes from every syllable of Gazman’s vocals, set delicately over a soundscape that dips toes into a warm sea of psychedelia. A brilliant headphone track, turn it up and drift away.
Released: 11th October 2010 Label: Nite Grooves Link: myspace // wikipedia // last.fm Words: Tom Wells
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Grum - Through The Night (Bitfunk Remix)
Bit Funk is turning out some great remixes at the moment and after this release, some may say there's competition against his originals. Much of the same sentiment can be applied to this remix of Grum's 'Through the Night'. He's twisted and tweaked the bassline and beat giving it a drive and club-friendly lift that the original lacks, with quoted reference too, 'Drive straight through the night/We can make it home before daylight'. The remix retains the uplifting 80's pop-synth while a distorted vocal-chord pulsates in the background - it's an actual pleasure to listen to Bit Funk's best tune to date.
Defected deliver more delectable and forward-thinking treats, this time from legend Treasure Fingers. Mr Fingers has gone wild with the vocal chops, which he is well-known for, and brings together tracks that can't be faulted - floating bass lines and gorgeous synth find a way of enforcing their melody into the subconscious. 'Lift Me' purveys that chopped vocal, which doesn't aim to convey any particular message through audible words, but manages to be ridiculously infectious. As the vocal trails, a disco synth hook enters, the kind of thing that files synergistic smiles and foot tapping as a means of celebration. The second track 'It's Love' supplies us with more choppy vocals over a stupidly gorgeous house beat that reflects sounds of old skool. The old skool revival is clearly in place and I'm sure Defected will be there at the forefront, flying their D-branded flag!
Both tracks urge a smile, and that is precious. The video is Defected's promo with a highlight of both tunes.
Magnetic Man (Artwork, Skream, Benga) are the world's first dubstep supergroup. How overused is that term of recent? Even so, it's worth the hype. I've been scouring the tinterweb for some kind of negativity surrounding the boys' work - not to say I do that for a living as someone who gets horny over the negative musing of others. That investigation has worked as a reinforcement of a common and shared view on this 'supergroup' and that they are on their way to global domination.
See, Magnetic Man don't subscribe all the while to the typical heavy sound of dubstep, it's more intelligent and experimental, more tight than their previous work of this 14 track album. They encapsulate the freedom that is associated with this uniquely British creation of genre; another testament that hard times can breed creativity and a sense of revolution is in the air, a precursor to the doomed political future. This may all sound a little over the top, using ridiculous hyperbole of such usual and weekly occurences - that of album making, but it is only what is seeping in the discussion of these guys.
'Flying To Tokyo' is a gentle lullaby of an opening track, as if a prelude to a torretes-styled outburst, taking off your clothes and rolling around in mud with pigs. Maybe not, eh? It's poignant sound is reflective of meadow views and intricate Buddhist teachings of the control of mind. Post-Tokyo, this aforementioned outburst hits as 'Fire' featuring Ms Dynamite strips away that peace of mind to deliver something more suitable for a school disco. 'Anthemic' tries to be just that through its festival-perfect synths, whilst 'Box Of Ghosts' authority in production is examplified by the squelchy bass, official-type synth and trance-like bleeps.
Katy B features heavily in their promotion and tracks, with a stand out 'Perfect Stranger' showing what it is to merge success of brilliant production that is celebrated in the underground and mainstream. 'I Need Air' seems a little overplayed now, yet it's unfavourable to take away the infectious affect it had on the nation's love affair with the Man who is Magnetic. 'Crossover', another featuring Katy B maintains depth in emotion without making the narrative sound like every other unoriginal dance track. And in this case, they save the best to last as 'Getting Nowhere' is the stand out track - a great choice of collaboration, as John Legend's soulful voice is imperceptible and the main focus of this longful track.
Anybody out there willing to challenge these dubstep afficianados, speak up never! Though competition is always an interesting factor. Whatever the case, Magnetic Man are representative of the rolling trends of dance music and are simply signified by the year 2010 - the year they changed the British musical scope.
Enjoy.
Box Of Ghosts
Crossover (feat Katy B)
Released: 8th October 2010 Label: Sony Music Entertainment UK Ltd Link: official // myspace // wikipedia // last.fm // Words: Sukhi Bansal
This is actually being given away this week on iTunes as Single Of The Week. And this is the Newsicmoos TUNE OF THE WEEK. Any coincidence? Or just great taste in music?
This tune has already been compared to The Prodigy's style and is one boing away 'Outer Space'. This I conclude is not a bad thing. It's bringing back those sounds of ravey jungle, allowing people like me to reignite those memories and allowing the youth of today to subscribe to their very own 'Outer Space' moment. Taken from latest album Rave Digger, a change in musical scope is here and expect it to be heard at any decent club near you this weekend... and many to come.
Yet another perfectly tracked album by the rose of UK DJ's, Annie Mac. It's undoubted that our Annie would ever choose a bad tune to grace one of her compilations, and this proves no different. It takes inspiration from anthemic Ibiza tracks such as Tensnake's 'Coma Cat' and the Yeah Yeah Yeah's 'Head Will Roll' to cult 2010 classics like Totally Enormous Extinct Dinosaurs with 'Garden' and Breakbot's 'Baby I'm Yours'. It's an ego boost to know that such tracks have been highlighted on this very blog throughout the year - so you could say we and Annie are one. No? If only...!
Below are a few track choices. Go out and buy this to add to your Mac-like collection.
Marina & The Diamonds - I Am Not A Robot (Doorly Remix)
Flying Lotus - Do The Astral Plane
MYNC, Rhythm Masters & Wynter Gord - I Feel Love (Circus Parade Mix)
Released: 11th October 2010 Label: Universal Island Records Ltd Link: Anniemacpresents //
Joining up with Dido, Faithless are proving they've still got it - not that they have anything to prove! They mix funky, fresh and fast tempos with Maxi Jazz's signature vocal piece and Dido's ever-melodic vocals. The intro seems made for the dancefloor with its choppy beats and uplifting vocals on repetition as if a mantra for positive mental attitude - it's of releasing the burden of the everyday in a club, dancing, surrounded by people who make you smile and basically leaving it all behind. The stabbing trance-like synth subscribes to a festival-chic sound that Faithless never fail to provide. And not to forget this is the much talked about backing track that appeared in that Fiat ad. Despite the controversy surrounding it, we love it and so should you! P.S. The radio version was already released in August, but this is a new release including remixes, of which are below. Faithless are touring in December so don't miss out.
Enjoy.
Released: 29th August 2010
And this be a lovely lil Ferry Corsten remix with escalation to a massive drop. Enjoy.
An absolute classic here summed up by its dedication to the ideal of carnal urges. The remix brings it to the attention of the dubstep-obsessed youth of today. Modernising it, let's say. Still a phat chewn alert with little other information about it!
A blast of okay house for you all this week, courtesy of Matt Caseli & Danny Freakazoid and their reworking of a Terence Trent D'Arby classic. Here is an example of good production, a great introductory crescendo and eventual drop - perferct for a big room dancefloor near you. It would sound better with use of the original intro and less emphasis on the vocals - then it'd be an above average track...
Our tune of the sheet!
Enjoy.
Released: 4th October 2010 Label: Axtone Records Words: Tom Wells
With over 15 years of experience, Cassius, individually known as Zdar and Boombass, have finally got into bed with the darlings of French electro, Ed Banger Records. Their latest offering (from the excellent Rawkers EP) twists their proven formula of languid, sexy electro into something more off beat and nasty, accompanied by a massive snare sound. This sound, the signature of many a 2nd rate 'dubstep' track, doesn't force the direction of the song but serves only to complement the typically Gallic swirling synths, distorted basslines and vocal sample. I personally can't get enough of the delivery (in 2 pitches) and its mixed messages of joy and pain, love and hate. In a genre where so many songs are propelled by percussion, Cassius do a better job conveying emotion with 3 lines ('Ooh I love you so/But why I'll love you/I'll never know') than some bands do with an entire song.
The Ed Banger influence is clear, but it exists in a way which doesn't threaten to take the shine off the polished surface Cassius have worked so hard to maintain.
With this latest E.P, Cassius appear to be innovating and changing with the times, seemingly not content to look back on their work under their many guises (Aphex Twin I'm looking at you. It's been 4 years! Make something already!). The thirst to create and produce shimmering masterpieces is still there, as is the ability to get a crowd moving and shaking.
De la bonne musique!
Released: 8th October 2010 Label: Cassius Records/Ed Banger Records Link: myspace Words: Darcy Mitchell
Quite frankly, the amount of genres and sub-genres that are being thrown about at the moment is rather ridiculous. They serve to jar creativity in my opinion! This next track is what is termed as 'future garage', bringing back the old sounds of garage that took over our adolescent lives and mixing it with a refined knowledge of dubstep production. Mercury Prize winners The XX are no strangers to the UK now, especially with reference to their sulty 'Crystalised'. Dark Sky has done his shit to this tune and mastered the sound of UK garage.
In reference to the Newsicmoos Tune Of The Week last week, this is the latest remix of that deep sound we raved up about. Matt Masters, a Freerange Records man, upholds the soulful ambience of the original with a delectable tech-house drop past 3 minutes in.
We commend, recommend and look forward to more Freerange spawns.
A great week has passed for dance music and another one arrives. Enjoy our list of noteable releases this week and do follow us on twitter! We'll love you forever :)
Peace.
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Plan B - Recluse (Nero Mix)
When you allow the depths of Nero's remix to infiltrate there them ears, the original just seems inadequate. The original's empty feel, which connotates the solitary feeling of imprisonment, is filled with Nero's dirty and apt bass line as well as that string synth overload. To be fair, there isn't much that has been added - almost as if less is more, but it works. The original seems more in harmony, and not much else happens when the vocal is blaring, but overall it's a banger of a tune well worth some commendation.
Enjoy.
Released: 1st October 2010 Label: 679 Recordings Ltd. Link: Official Page // mySpace // Words: Sonny Van Loef
*****
Boys Noize - Yeah
A return to the fray for Alex Ridha, the ubiquitous producer behind Boys Noize and Boys Noize Records. Building from a compressed sequence of chords and a heavy 'doom thunk' bass snare combo, 'Yeah' appears to prematurely tail off into uncertainty, fading in and out, before coming back into focus as Ridha introduces swirling keys gradually and builds the krux of the song around the vocal sample of the title. From this point, the whole song contrives to come together, tighten and become something more concrete and danceable to. I'm grooving as I write this. Distinct from Boys Noize's normal fare is some 90's house influence and a rolling snare drum which evokes my Total Garage 2001 CD, a compilation which has proved to be an invaluable reference over the year.
The whole track is insistent, with its choruses of staccato 'yeah's!' seeming to command people to the dancefloor, albeit a dancefloor situated at my desk. Put simply, I cannot wait to hear this being dropped in a club and wholeheartedly give it a stamp of approval. For me, it retains the key elements of what makes a Boys Noize record great whilst adding a few elements I wouldn't normally associate with Ridha's sound.
Released: 1st October 2010 Label: Boysnoize Records Link: Official Site // mySpace // Words: Darcy Mitchell
*****
Bottin - Discocracy
It's quite surprising to learn that Bottin’s 2009 concept album Horror Disco was the Italian producer’s third album. Cult label Italians Do It Better (IDIB) had obviously listened to feedback for them to release the 12” ‘No Static’ earlier in the year to widespread acclaim. This release gave us an expectation of what to expect from a William Bottin tune; deep synths, a mid-tempo melodic beat and tidy vocal support. For his second release on famed Belgian nu-disco label Eskimo, he doesn’t attempt to deviate from his tried and tested formula. ‘Discocracy’ is a chugging Italo-Disco charmer with those heavy synths and sci-fi melodies to keep the converted happy. It may not hit the heights of his release on IDIB but it’s a welcome addition to his surprisingly extensive back catalogue.
Enjoy.
Released: 4th October 2010 Label: Eskimo Recordings Link: Official Site // Words: Ryan Kelsey
*****
Tiefschwarz - Stones (Reworked)
Tiefschwarz (and their peers Trentemoller) have always been synonymous with deep house and nowhere are the deep dissonant noises and pulsating rhythms which define this genre more relevant than in their latest offering, 'Stones'. A vocal loop is at the centre of the beat, frantic and insistent - a complete contrast to the slick disco beat, bossa nova cowbell and piano riffs giving the track its Latino backbone. Where many would fail, Tiefschwarz manage to make this unlikely couple work. The song becomes something ehtereal and otherworldly, almost unsettling as the vocal sample claims to be 'trying not to think.... trying to deserve this'. As we would expect with Tiefschwarz (translation: 'deep black'), the song is densely layered and more complex than an average Auto Tuned chart topper. But it's this which draws in the listener - it demands our attention and intelligence. And it's these intellectual demands that make it stand out and evokes some warehouse in Berlin at 5am. Can I get a hell Ja?
Released: 4th October 2010 Label: Souvenir Link: mySpace // Souvenir Site Words: Darcy Mitchell
