[Playhouse] (buy vinyl) (buy mp3)

Simon Baker and Todd Terje aren’t the most easily anticipated combination. Baker’s big room tech-house anthem, “Plastik,” walked a fine line last year: it combined accessibility with a certain square-shouldered aggression that made it better than it should have been. Unsurprisingly, Terje ups the funk quotient on his remix, but in remaking “Plastik” he’s succeeded in making it his own without jettisoning too much of the original. Instead of different parts sutured together with all the elegance of Frankenstein’s monster, something surprisingly svelte has emerged from the lab.

Terje’s version is slowed down, lengthened, and drawn forward by a much more loosey-goosey style of percussion than the original. His “Türkatech” incarnation makes room for a jangling, guitarish sort of instrument to play off the original’s synths, but stops short of turning it into meandering disco-funk. Terje’s remix should retain the proselytizing appeal of the original, and this remix might just go down fine on the same dance floors that received the original so hospitably. Unfortunately, therein lies the problem. “Plastik” was digestible and enjoyable, but ultimately ever so slightly bland. Though he’s hit the nail on the head by preserving the easy charm of the original in this new mix, Terje has fallen into the same trap that Baker did. It’s not just a deft touch that’s needed to make a great track, but the inclusion of some challenging, revealing measure of personality, too. This is the reason why one of the most intriguing production combinations in a short while has failed to produce the fascinating result it might have. (post by Colin Shields)

Artwork by Lucy McRae and Bart Hess

[Marcel Dettmann Records] (buy vinyl) (buy mp3s)

As the dark prince of the Berlin club scene, Marcel Dettmann has quite a buzz about him these days. Though he’s been a resident DJ at hotspot Berghain since it opened the first time, he’s a relative newcomer to recorded work, releasing his first tracks in 2006. Now, hot on the heels of his Berghain 02 mix CD comes the latest limited-edition four-tracker on his own imprint, and from the sounds of it, that buzz could soon become a deafening roar. Read more »

[Slowhouse Recordings] (buy vinyl) (buy vinyl)

If house is a feeling, then Slowhouse’s “Three” is a little too pristine and controlled to fit in completely. This is not a criticism; the project has taken the vogue pared-down house of Cassy, et al., and stripped it to the warm essentials. Bridging house vibe and techno precision, the series has hit a sweet spot where contradictions are even welcomed. One instance: you could argue that Slowhouse hasn’t reached far outside its aesthetic muse, but that’s also helped the series sound simultaneously humble and slick. But let’s not forget that the Slowhouse project is (mostly) a faceless affair. Releases are named sequentially, tracks are untitled, and although the releases are attributed to the relatively small city of Zurich (and specifically the Drumpoet Community), the producers get to stay as anonymous as Internet rumors allow. The latest one is the wildly conceivable tag-team of Quarion and Agnès.

Truthfully, I could care less about the pseudonym sweepstakes. What matters is that “Three” is the latest success for Slowhouse. From the just-right vocal trill on the first untitled track to the sponge synthpad that soaks up the fourth, the single is consistent, gentle, unassuming. “Three” is also noticeably laid-back — the unwavering strings of the second track make a nice bed for a fuzzy 303 to get thrown around like a cat’s toy. All in all, I might still be most enamored with the first track; each refrain sounds necessary without ever being urgent. There’s a crack and fizz throughout the track that lets it gently expand while a submerged clipped chime never lets anything get too far away. It’s perfectly measured, but when fine-tuning sounds this good why settle for anything else? (post by Nate DeYoung)

[Playhouse] (buy vinyl) (buy mp3s)

When I interviewed My My’s Nick Höppner and Lee Jones a few months ago, they acknowledged the strain of music they released with Playhouse was markedly different from their “Southbound” single for Ostgut Ton, noting that “we’d rather produce something to the occasion.” So few will be surprised that “Everybody’s Talkin’ EP,” their latest for Playhouse, returns to a more sample-laden sound akin to Songs For the Gentle, My My’s debut album on the same label. At the same time, Jones and Höppner seem more focused on this new set of tracks, with equal attention paid to DJ utilities and delighting dancers. “Everybody’s Talkin’” may also mollify those who dismissed the “Southbound” 12″ (unfairly, in my opinion) as too trendy.

Whereas “Southbound” and its flipside were thick and immersive, “Everybody’s Talkin” is lithe and limber, its rebounding synth progression juking and jiving cheerfully to a swinging beat. My My manipulate a vocal sample to charmingly stutter out the titular line, and inject further rhythmic depth by cycling through a raft of percussive timbres which give the tune real pop. So many of today’s deep house tracks are comfortably couched in mellowed out moods, and “Everybody’s Talkin’” offers a welcome change of pace. By contrast, “Day For Night” attacks with a body blow of progressively broader synth stabs among quivvering pads and fizzy effects. It’s as if all those drinks you’ve downed in the last hour have just caught up with you and damn, you’re ready to strut your stuff. It’s boldly straightforward and a nice counterpoint to the spry A side. Not only have My My produced for the occasion, they’ve also risen to the occasion with yet another fine entry in their already excellent discography. (post by Steve Mizek)

After how enthralled we were with Leonid’s debut EP, LWE was curious what kind of records the young Irish producer would spin. What better way to find out than an exclusive mix? Hear his response in this 60 minute mix of deep techno gems.

Download: LWE Podcast 04: Leonid (60:20)

Tracklisting:

01. Fatima Yamaha, “What’s a Girl to Do” [D1 Recordings]
02. STL, “2 Ya Ear” [Something Records]
03. Sebbo, “Watamu Beach” (Moritz von Ozwald remix) [Desolat]
04. Carl Craig, “Sandstorms” [Planet E]
05. Move D, “Like I Was King” (Black Label Mix) [Compost Records]
06. Lerosa, “One Year Friends” [Enclave Records]
07. STL, “Moonwalk” [Something Records]
08. Marvin Dash, “Untitled” [Out to Lunch]
09. David Caron, “Dreamshower” [Eevo Lute Muzique]
10. Soda, “Motorcity” [Italic]
11. Soylent Green, “After All” [Playhouse]
12. Dimension 5, “Space Travel” [Delsin]
13. Visitor, “Stop the Music” [D1 Recordings]
14. Omar S, “F.O.E.” [FHXE]
15. Downlink, “Jimmin’ Around” [Mosaic]
16. Move D, “Untitled” [Workshop]
17. Telepaticos, “Carpe Sativa” [Enclave Records]

Check out an interview with Leonid after the jump. Read more »

Art by Ben Tolman

[Music Man Records] (buy vinyl) (buy mp3s)

A limited edition in stylish plastic spot-varnish sleeve and your choice of colored vinyls (blue, silver, and white), veteran Croation producer Petar Dundov’s latest (and first release since February of 2007) visually jumps off the shelves at collectible-minded buyers, but the real treasures are on the vinyl itself. Released as a taster for Dundov’s forthcoming Escapements LP, “Oasis” is quite worthy of standing alone, thank you very much. Starting with a low, repeated percussive throb, the track unfolds like a map to the stars, a series of new arpeggiated riffs and percussive clicks adding texture and chasing the cosmic bumblebee drift of a melody around and around, seemingly random but really part of some mad master plan. Some gently acidic mixing tricks follow, but the joy is in the journey, not the payoff — a trick many producers try to pull off, but seldom do as effectively as this. It’s like Jeff Mills playing Philip Glass. This is a good, good thing.

On the flip, Substance & Vainqueur of Scion fame let some of the air out, running the track inside out while adding a more traditional backbeat, losing the layered trickery of the original and adding their trademark space-dub echo effects. They wind up with a track that’s altogether more straightforward, raising the tempo and overall dance-floor quotient, and it will likely see more play than the original. But it is far less stunning a track to actually listen to, albeit quite good for what it is, and it certainly won’t make you forget the original. If Dundov has an album’s worth of material this good in the can, Escapements will be well worth checking. (post by Todd Hutlock)

Greetings all –

I’m guessing my name will be familiar to at least a few of you, as I’ve been at this writing game for a little while now. I used to be an editor at Alternative Press magazine (yes, I know, I know…), then at Stylus, where I was also a contributor to the fabled Beats by the Pound section (and compatriot to the fabulous Mr. Nate DeYoung), and lately, Resident Advisor (as well as lots of other places in-between).

I come from perhaps a different background and with a perspective than many of you; I’m 36, married with two stepchildren, live in Cleveland, was a DJ for something like a decade and have been in semi-retirement for the last seven or eight (although I would go play again in a heartbeat if someone asked me to), and I haven’t set foot in a club in at least five. I still love and purchase vinyl and maintain stubbornly that I will never DJ on a computer or with CDs (though I’d be kidding myself if I didn’t say that I love the whole downloading thing because it saves me ending up with many dogs in my collection).

Honestly, I do love music, and though I sure know a lot about the past, I am far from stuck in it (despite what some friends might tell you); I fully admit that there is just as much great music coming out today as there was when I first fell in love with Derrick May and Juan Atkins and Carl Craig all those years ago. I hope to share some pearls of whatever wisdom I may have accumulated over the years as well as experiencing the new and exciting things that are sure to come our way.

So basically, I’m all of you in five to ten years. Take a good look — this is where many of you are heading!

Chart courtesy of The Economist.

01. Shed, Shedding the Past [Ostgut Ton]
In a year that’s shaping up quite nicely for techno/house albums, Shed’s long-playing debut is certain to be at the front of the pack. Internally diverse and unique among its peers, Shedding the Past truly dispenses with familiar forms (4×4 beats are a rarity) while firmly lodging itself in listeners’ pleasure centers with ease. Expect a full review of this beautiful and challenging album once it reaches stores.

02. Dave Aju, “Crazy Place” [Circus Company] (buy)
It’s taken me a minute to come to terms with Dave Aju’s sui generis brand of free jazz-inspired deep house, and I have his latest single, “Crazy Place,” largely to thank for putting things in focus. According to a blog on his Myspace, Aju’s forthcoming album is constructed entirely from sounds made with his mouth, a tactic which is happily apparent on “Crazy Place.” Its sputtering “hi-hat,” chorus of un-finessed vocals and rubbery synth line are endearing in a very human way. Luciano’s flipside remix is another treat, allowing only snippets of skin to show between gleaming metallic percussion. Highly recommended, and Open Wide is highly anticipated.

03. Burger/Voigt, “Wand Aus Klang” [Kompakt] (buy)
It seems Wolfgang Voigt has caught the producing bug again: rekindling the Gas moniker, reviving the Profan label, and working with longtime partner, Jorg Burger. Their new “Roter Platz” single proves this is a good thing, as it revisits the pair’s seminal [Las Vegas] sound: a potent blend of electronics and rock which might just give you goosebumps. “Wand Aus Klang” (wall of sound, roughly) is the duo’s stunning addition to the shoegaze cannon, a gauzy drift down a droning river where guitars spar and vocals coo.

04. Kelley Polar, “Magic Dance” [Rapster Records] (buy)
Any track opening with a request to “slap that baby” is sure to get listeners’ attention. But in the case of Kelley Polar’s fantastic David Bowie cover for the Life Beyond Mars compilation, it’s the music’s frantic frot which pulls me in, especially Polar’s stacked vocal harmonies. I can’t wait to start a night with this, half for audience reaction, half because I know they’ll love it.

05. Kevin Saunderson, “Good Love” (Luciano’s Good Love Remix) [KMS] (buy)
Colin already did a good job describing Luciano’s series-beating remix of “Good Love,” but my enthusiasm overfloweth. Luciano’s signature warmth and restraint serves Paris Grey’s eyes-on-the-prize well, which is sparingly wrapped in flaring synth progressions and reinforced by unhinged sub-bass. And being the consummate DJ himself, Luciano tailors the remix for interesting mixes, as this one is sure to get aired out often this summer.

Read more »

[Workshop] (buy vinyl) (buy mp3s tk)

Since 2006, Workshop has released a new EP every six months or so. Sold and distributed by Hardwax, each EP consists of three untitled tracks, sometimes all by the same artist and sometimes by a varied group. The quality of these releases has been consistently solid: Kassem Mosse’s “Workshop 03″ had a stark and gravelly aesthetic that made it a real standout from 2007, and “Workshop 04″ boasted some fine ghostly house from Move D, Even Tuell and Sascha Dive. Unfortunately, “Workshop 05″ is the weakest installment yet, offering a handful of tracks less varied and intriguing than their predecessors. But it still merits some close attention, featuring a memorable track by Benjaminn Brunn — an artist I personally had yet to hear solo — and a quirky contribution by the mysterious Da Halz.

The three tracks that make up “Workshop 05″ are all cut from the same cloth — sugary, soothing, stripped down tech house. Benjamin Brunn’s contribution focuses on a serene two-chord motif, doused in reverb and pushed along by a perky, compelling rhythm.  Some gentle synth stabs drift in and out, along with some erratic analog streamers that soar and crash. Atmospherically, it recalls the lazy bliss of Songs From the Beehive, his recent collaboration with Move D, but unlike the sprawling semi-ambience of that album, this track is crafted with the DJ in mind. Japanese artist Rising Sun kicks off the B-side, lamely shadowing Brunn’s effort with a pretty but unremarkable afterhours track. Da Halz redeems the B-Side with an off-kilter groove that would take a bit more creativity to drop in a mix. The beat is gentle and plodding, vaguely funky and probably not danceable. In terms of mood, Da Halz follows suit, draping ethereal veils over the percussion’s mechanical clacking. As with the other tracks, this tune’s euphoric drowsiness is better suited to a bedroom mixtape than a weekend DJ set. Overall, “Workshop 05″ succeeds in being dreamy and pleasant, but feels lackluster compared to other recent efforts in mollified tech house (Move D’s “Between Us,” Sten’s “Way To The Stars”), and certainly doesn’t live up to the high standard set by the earlier installments in this series. (post by Will Lynch)

As always, Fabric brings you some of the best line ups and this Saturday, August 2nd is no different. The line-up is exceptionally diverse; but its crown jewel enticement is a live set from Dan Bell, whom Chris Disco of mnml ssgs recently said he would sell an organ or see live. The Detroit love carries over into Room Three, where Mike Huckaby and Rick Wade hold it down Harmonie Park style. If that’s not enough, Jay Haze, DJ T, Deadset and Terry Francis are also spinning. Try to contain yourself long enough to win a pair of tickets to experience it. All you need to do is tell us the moniker under which Dan Bell put out his first record (group or solo). The first person to email the correct answer to editor (at) littlewhiteearbuds (dot com) wins. Contest ends 00:00 CST, August 1st.