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Wednesday, 25 April 2018

That Hit


Flash Atkins is here with some uplifting, locked groove, slinky, tech-house, and there's some lovely soulful vocals from Charlie Sinclair- waiting for that hit. Night time music.



The single comes with a remix by Hardway Bros, Sean Johnston bringing the buzzing bass to the fore, stretching it out and sending it into sci fi techno territory.

Tuesday, 24 April 2018

Momentum


If you like modular synth sounds and repetitive grooves and techno- and I do- then you might find something to enjoy in this collaboration between Carl Craig and Klauss, an Argentinian electro-acoustic ensemble who have been making music in Buenos Aires since the 1980s. Two tracks have been released on Planet E, Carl Craig's legendary Detroit electronic label. Momentum runs to over 12 minutes, a looped synth part setting it going and staying there throughout as the tension builds, some oscillation and a big kick drum. Momentum was the result of an improvised jam and in some ways it sounds like it- but there's plenty to enjoy here, in the sounds and the loops and propulsion.



Monday, 23 April 2018

Dimanche



Yes, I know, wrong day. Today is Lundi.

Dimanche is on this year's Shadow People album by French duo The Liminanas. It's well worth getting hold of if you haven't already- ten tracks recorded at Anton Newcombe's studio, taking in Velvet's fuzz and rhythms, thumping drums, sunglasses and black leather and a guest spot for Peter Hook's bass. Dimanche, with guest vocals from Bertrand Belin, has been remixed by fellow Frenchman Laurent Garnier and it is very good indeed, Garnier adding some clubby dynamics, looping some parts, drawing out the ringing feedback and a sticking a massive kick drum and snare underneath. I think this came out on 12" for Record Store Day.

Sunday, 22 April 2018

I Don't Give A Fuck About Your War... Or Your President


I was channel surfing the other night and discovered the Sy Fy channel, somewhere I don't think I'd been before. I became distracted by Escape From New York, already about 45 minutes in, but the combination of John Carpenter's synth score and Snake Plissken's mission to find the President in Manhattan, a walled in maximum security prison in the year 1997,  kept me from switching over for a while. Escape From New York is always a joy. It occurred to me that if real life had intervened Snake would have been rescuing Bill Clinton.

It put me in mind of this 2014 release by Maurice and Charles, a chunky, moody, acid funk track peppered with dialogue from the film along with some very Byrne-Eno guitar riffs and rhythms.

I, Carpenter

Saturday, 21 April 2018

Stop Bajon


This sudden burst of decent weather- sunshine, in April, uh?!- demands something sunny and suited to beer garden/cafe bar terrace/ghettoblaster in the park/beach at sundown. This 1983 track from Italian drummer/singer Tullio De Piscopo is ideal. It's a crossover record- Italian disco, a minor hit in the UK in 1987, a record played by Ron Hardy and Frankie Knuckles in Chicago house clubs, by Alfredo in Ibiza, at Shoom and Phuture, by Theo Parrish and at countless other broadminded establishments.

Stop Bajon

Friday, 20 April 2018

Sleepwalk


Celebrate the arrival of Friday and the weekend with this- a free download of an Aron Ya reworking of Moon Duo's Sleepwalk (if trancey, psychedelic, repetitive, acid drenched drone rock is your bag. And if it isn't, why isn't it?)

Thursday, 19 April 2018

Well It Seems So Real


More from Manchester's musical back pages (and not Morrissey who makes it worse every time he opens his mouth right now- just when you think he can't sink any further he does. Pretty soon it will be impossible to listen to The Smiths without visions of racist, far right fuckwittery). I overheard the opening to Why Can't I Touch It? coming through from the TV and stopped in my tracks to let it go on. Whatever programme it was didn't let it go on very long but it sounded superb, the reggae feel to the drums, the opening riff, all angular and jerky, followed by Pete Shelley's high pitched frustration and confusion (I've always assumed this song is about sexual frustration). The twin guitars stalk around each other while the bass and drums play a kind of Mancunian dub version of Can. Why Can't I Touch It? was released in 1979 and while it doesn't necessarily sound very modern or 2018 it also doesn't sound like it is nearly 40 years old.

Why Can't I Touch It?