this tuesday i was listening to radioprogram "jazzlandet" on swedish national radio station p2. i would describe it as an actuality program regarding jazz and associated forms of the music with focus on swedish jazz mostly. tuesdays program was dedicated to playing some "musical highlights in the november darkness" and i enjoyed all the music that was played but there was one track that really stood out.
about fourtyfive minutes into the show märet tells about a song that she's about to play from two norweigans by the name of greta aagre & erik honoré. the key words for me to pay special attention was mentions samples and quirky sounds. as "strangeness" i heard the musical collage that consists of atonal sounds, field recordings, murmur, crackle, cut up musical elements and other sounds. all of this backed up a really deep bass to complement greta aagre's wonderful vocals.
i really like how honoré and aagre sculpted the track with all the random sounds. even though this kind of electronic jazz fusion is far from unique, it's executed brilliantly and this is all that matters.
buy here (website)
Friday, 23 November 2012
Thursday, 22 November 2012
blue six - let's do it together (speakeasy remix)
"let's do it together" is the starting track on jay denes' first blue six album and the first time i heard the song and the album it wasn't really love at first sight. it was a good track but i can't say that this is something like "sweeter love", "music & wine" or "pure" who all are brilliant. infact when i got the single for "let's do it together", it was sort out of completion as i was into all of that but i found myself playing miguel migs' petalpusher dub only.
eric stamille and gaelle addison's speakeasy remix was broken beat and i don't remember if i was into it at the time but i was trying to work some of that material in sets. when i look on this single nowadays, it is the best version and part is because they took the song in a different direction. then again so did miguel migs but his purpose was to make it work in a main room set.
this however spun of the second half of the original where it breaks down to bongo drums and the piano and bass changes motifs. this is also by far the most interesting part of "let's do it together" and the way it's re-interpreted with a different rhythm is brilliant. part of what i didn't care for the original was lisa shaw's vocals for the most part was really uninteresting. here they've used the basic parts and worked them in a good way.
i know i've played this plenty of times for personal listening but i can't remember if i ever worked it in a set. it's really easy to get into and would work excellently with other records. reasons for why i've held it off has to be because it goes a little epic with the strings near the end. it felt like a near the end/closer track and when i was playing this kind material i was in mid-set. i do love this one though.
buy here (junodownload)
eric stamille and gaelle addison's speakeasy remix was broken beat and i don't remember if i was into it at the time but i was trying to work some of that material in sets. when i look on this single nowadays, it is the best version and part is because they took the song in a different direction. then again so did miguel migs but his purpose was to make it work in a main room set.
this however spun of the second half of the original where it breaks down to bongo drums and the piano and bass changes motifs. this is also by far the most interesting part of "let's do it together" and the way it's re-interpreted with a different rhythm is brilliant. part of what i didn't care for the original was lisa shaw's vocals for the most part was really uninteresting. here they've used the basic parts and worked them in a good way.
i know i've played this plenty of times for personal listening but i can't remember if i ever worked it in a set. it's really easy to get into and would work excellently with other records. reasons for why i've held it off has to be because it goes a little epic with the strings near the end. it felt like a near the end/closer track and when i was playing this kind material i was in mid-set. i do love this one though.
buy here (junodownload)
Wednesday, 21 November 2012
pillbox - pounding your soul
about six or seven years ago i was quite obsessed with really long dj-sets for some reason and i had found this five hour behemoth with roger sanchez. it quickly became a favourite set of mine and included a multitude of songs that i liked, songs that i've never heard of and some that was soon to be my favourites. this song lands in the latter of those categories and for a long time i really didn't know what it was called.
it was a vocal track and those by default means that they are more easier to identify but even with the help of google and some asking, i was hitting dead ends. then some years after that just typing in the lyrics found myself hearing the song and all was great in my world. truth be told i was a little lazy with the searching as i should have looked on what else roger sanchez was playing in his sets at the time or what his label was releasing. as "pounding your soul" was available through stealth recordings about six months after roger had played his set on queen's day in amsterdam.
with all that being said it's a cracking dark progressive house track, much like "salty" which i wrote about three days ago. a thick & lush groove with a really chunky bassline and a seductive vocal with echoes and all the trimmings. it is a great track on it's own without the vocal but the way it's worked is, as i said in the entry for "salty", something that i'm a sucker for. however i really emphasise the former of the latter in that last sentence because it's a bit too easy making big room progressive house like this.
take for instance josé nunez's "bilingual" which is just a sparse groove and a dirty seductive vocal. i do like this song as well but take out the vocal and it's not really interesting musically. but it doesn't matter as no one is going to care in a club enviroment that "hey this track is so dependant on that vocal, what a lazy hack". especially since something like "bilingual" is brilliant soundwise at a club, same goes from "pounding your soul" but the former sound thinner at home comparing to latter.
well recommended track.
buy here (junodownload)
it was a vocal track and those by default means that they are more easier to identify but even with the help of google and some asking, i was hitting dead ends. then some years after that just typing in the lyrics found myself hearing the song and all was great in my world. truth be told i was a little lazy with the searching as i should have looked on what else roger sanchez was playing in his sets at the time or what his label was releasing. as "pounding your soul" was available through stealth recordings about six months after roger had played his set on queen's day in amsterdam.
with all that being said it's a cracking dark progressive house track, much like "salty" which i wrote about three days ago. a thick & lush groove with a really chunky bassline and a seductive vocal with echoes and all the trimmings. it is a great track on it's own without the vocal but the way it's worked is, as i said in the entry for "salty", something that i'm a sucker for. however i really emphasise the former of the latter in that last sentence because it's a bit too easy making big room progressive house like this.
take for instance josé nunez's "bilingual" which is just a sparse groove and a dirty seductive vocal. i do like this song as well but take out the vocal and it's not really interesting musically. but it doesn't matter as no one is going to care in a club enviroment that "hey this track is so dependant on that vocal, what a lazy hack". especially since something like "bilingual" is brilliant soundwise at a club, same goes from "pounding your soul" but the former sound thinner at home comparing to latter.
well recommended track.
buy here (junodownload)
chloé - take care (abe duque remix)
this was something that i used to play in plenty of my sets and came to mind a short while back when i saw the name chloé on a compilation that i own. i'm trying to remember how i heard this first but best believe that it ws through one of the big jocks at time, maybe digweed or howells? this was when i was growing sick of epic trance or trance in any shape or form and was starting to look elsewhere for material.
originally by french producer & dj chloé thevenin, most remember this song by the small vocal bits saying "ooh" "agh" and "i don't care" in a hazy but heavy accent. also it has a sort of new wave synth melodic aspect but that didn't come through in carlos ducue alcivar aka abe duque's remix. he used chloé's sounds and effects but mended them into his own distinctive late 80's/early 90's throwback acid house sound.
abe duque also expanded on the acidlike bassline that thevenin worked into her original and made it squeel with glee. this is the aspect of abe duque's remix that made more interested as i'm always up for more acid lines in techno or house music. be it that they are waggly or wobbly or squelchy or even subtle, just as they are present and worked well into the groove.
bumping acid house from the duque and it' well recommended.
listen here (youtube)
note: this is technically available for purchase digitally (for example here) but it's not the whole track and it's from a mix-cd. which makes it pointless to purchase, especially if one wants to play it in their own sets.
originally by french producer & dj chloé thevenin, most remember this song by the small vocal bits saying "ooh" "agh" and "i don't care" in a hazy but heavy accent. also it has a sort of new wave synth melodic aspect but that didn't come through in carlos ducue alcivar aka abe duque's remix. he used chloé's sounds and effects but mended them into his own distinctive late 80's/early 90's throwback acid house sound.
abe duque also expanded on the acidlike bassline that thevenin worked into her original and made it squeel with glee. this is the aspect of abe duque's remix that made more interested as i'm always up for more acid lines in techno or house music. be it that they are waggly or wobbly or squelchy or even subtle, just as they are present and worked well into the groove.
bumping acid house from the duque and it' well recommended.
listen here (youtube)
note: this is technically available for purchase digitally (for example here) but it's not the whole track and it's from a mix-cd. which makes it pointless to purchase, especially if one wants to play it in their own sets.
Tuesday, 20 November 2012
moloko - sing it back (herbert's tasteful dub)
first of all i want to send some love to dj bas el gharib of the plastic love crew that played this in a recent mix and reminded me of it again. then again, i was probably going to write about this track eventually as i've played it plenty of times over the years. good dj's know when to dust off some classics and place them in a modern context, since there are tracks nowadays that are sharing the same type of sounds and aesthetics.
despite what most people think the original does not sound like a disco throwback, it's more in line with moloko's prior output. in the first half of the song it consists of a mark brydon chopping up and reconstructing a jazzy drum break and róisín murphy's sweet vocals on top. as the song progresses you hear a didgeridoo-like bass sound and more structure in the drums.
there was a whole lot of remixes that was ordered up and they followed two particular guidelines. either they used mark brydon's contributions to the track or they just used róisín murphy's vocals. all of the remixes were in housier territories or tempo as the original was made at that tempo. the only exception to the tempo was dj plankton (aka mark brydon)'s dub that is in halftime and levent canseven's ragtimey "1930 mix"
most of the version from the peppermint jam direction (boris dlugosch, mousse t, michi lange, levent canseven) and booker t were of the other route. i don't think brydon is crying blood over they ignored his parts as they were successful on dancefloors and the charts.
the efforts from todd terry, the dope smugglaz*, herbert and of course dj plankton/mark brydon were of the first route with regard to them, they are more interesting musically. i think it's weird that todd terry's remix didn't became that big as the boris dlugosch remix since terry was still a high profiled producer/remix at the time. but i'm not here to talk about that version as it's matthew herbert's rerub that will always have top billing in my book.
he actually made two versions of the song but only the dub is easy to find online and to purchase digitally, his "falling away mix" can be heard as a sample on the nuloop store. i have heard the full version and it's far more "uptempo" than his dub but i think the dub is better musically. matthew herbert's skill has been for me to take a set of sounds and twist & reshape them so they are worked into this one very original piece of music.
one of the most striking things on this remix of "sing it back" has to be drums and i really think he one upped mark brydon's chopping. they form such a crunchy backbone to that track when they are stripped of the reverb that brydon threw on. herbert doesn't only twist the percussive sounds or the pads that were provided but he also tend to throw the shift on the vocals. all of this aural trickery is being done to form this really deep piece of house with a great groove.
listen here (youtube)
*might i add that this has to be one of the stupidest monikers of all time
despite what most people think the original does not sound like a disco throwback, it's more in line with moloko's prior output. in the first half of the song it consists of a mark brydon chopping up and reconstructing a jazzy drum break and róisín murphy's sweet vocals on top. as the song progresses you hear a didgeridoo-like bass sound and more structure in the drums.
there was a whole lot of remixes that was ordered up and they followed two particular guidelines. either they used mark brydon's contributions to the track or they just used róisín murphy's vocals. all of the remixes were in housier territories or tempo as the original was made at that tempo. the only exception to the tempo was dj plankton (aka mark brydon)'s dub that is in halftime and levent canseven's ragtimey "1930 mix"
most of the version from the peppermint jam direction (boris dlugosch, mousse t, michi lange, levent canseven) and booker t were of the other route. i don't think brydon is crying blood over they ignored his parts as they were successful on dancefloors and the charts.
the efforts from todd terry, the dope smugglaz*, herbert and of course dj plankton/mark brydon were of the first route with regard to them, they are more interesting musically. i think it's weird that todd terry's remix didn't became that big as the boris dlugosch remix since terry was still a high profiled producer/remix at the time. but i'm not here to talk about that version as it's matthew herbert's rerub that will always have top billing in my book.
he actually made two versions of the song but only the dub is easy to find online and to purchase digitally, his "falling away mix" can be heard as a sample on the nuloop store. i have heard the full version and it's far more "uptempo" than his dub but i think the dub is better musically. matthew herbert's skill has been for me to take a set of sounds and twist & reshape them so they are worked into this one very original piece of music.
one of the most striking things on this remix of "sing it back" has to be drums and i really think he one upped mark brydon's chopping. they form such a crunchy backbone to that track when they are stripped of the reverb that brydon threw on. herbert doesn't only twist the percussive sounds or the pads that were provided but he also tend to throw the shift on the vocals. all of this aural trickery is being done to form this really deep piece of house with a great groove.
listen here (youtube)
*might i add that this has to be one of the stupidest monikers of all time
Monday, 19 November 2012
shaznay lewis - you (terror danjah & dva featuring klashnekoff remix)
file this under song and/or version of said songs found from buying cd-singles from crate digs and the likes. the single came in a big jewel case which made me think it had more than three versions but never the less it's a song that i really like. upon the purchase i thought that the remix by switch was going to be the version to hold on to as it was the main dancefloor remix.
even though i was sort of into fidgety house at the time, i didn't think it was that good. upon revisiting the remix a while ago, i found a bigger liking but the best version of the single was the other remix. it was done by uk grime producers terror danjah & dva, whom invited rapper klashnekoff to add a verse. being that they are well invested in hiphop they probably recognized that the original somewhat sounded like "93 'til infinity".
henceforth they played it up and rejigged billy cobham's "heather" in the same stylings that a-plus of the souls of mischief did. it's not a complete bite but mor of a nod and they pull it off really well. the way the song ended up with punchy drums, lush strings and a nice spanish guitar makes this brilliant on it's own.
buy here (itunes)
even though i was sort of into fidgety house at the time, i didn't think it was that good. upon revisiting the remix a while ago, i found a bigger liking but the best version of the single was the other remix. it was done by uk grime producers terror danjah & dva, whom invited rapper klashnekoff to add a verse. being that they are well invested in hiphop they probably recognized that the original somewhat sounded like "93 'til infinity".
henceforth they played it up and rejigged billy cobham's "heather" in the same stylings that a-plus of the souls of mischief did. it's not a complete bite but mor of a nod and they pull it off really well. the way the song ended up with punchy drums, lush strings and a nice spanish guitar makes this brilliant on it's own.
buy here (itunes)
jori hulkkonen - you're my excuse for being me
"you're my excuse for being me" is one of my favourites from jori hulkkonen and first time i heard it was by recommendation from a friend. first of all the title itself is brilliant as a statement but it brings a different dimension with the mood that the track is expressing. it's sort of romantic but more bittersweet and it's really conveyed by the strings throughout the track.
the reason this track got into my head again was when i wrote about rinneradio's "atlandisk". i was talking to my friend jamey since she also likes electronic music from finnish producers and acts. the conversation swiftly headed into jori hulkkonen's music as she had purchased "when no one is watching we are invisible", which includes "let me luv u" and other brilliant tracks. i mentioned that "you're my excuse for being me" was one of my favourite hulkkonen tracks and wanted her to hear it. her opinion about the track was that she didn't think it was anything special but that it was good. i swiftly disagree, i think it's drop dead gorgeous.
hulkkonen's knack for making warm technohouse comes through with the long intro which leads into a really bumping groove. however that this track is more ambiance than dancefloor but i have no question that it would work in a club, given a right placement. you probably have to play it with song that works harmonically but the payoff with the melodic aspect will bring a difference to the soundtrack of the club.
buy here (junodownload)
the reason this track got into my head again was when i wrote about rinneradio's "atlandisk". i was talking to my friend jamey since she also likes electronic music from finnish producers and acts. the conversation swiftly headed into jori hulkkonen's music as she had purchased "when no one is watching we are invisible", which includes "let me luv u" and other brilliant tracks. i mentioned that "you're my excuse for being me" was one of my favourite hulkkonen tracks and wanted her to hear it. her opinion about the track was that she didn't think it was anything special but that it was good. i swiftly disagree, i think it's drop dead gorgeous.
hulkkonen's knack for making warm technohouse comes through with the long intro which leads into a really bumping groove. however that this track is more ambiance than dancefloor but i have no question that it would work in a club, given a right placement. you probably have to play it with song that works harmonically but the payoff with the melodic aspect will bring a difference to the soundtrack of the club.
buy here (junodownload)
Sunday, 18 November 2012
dylan rhymes featuring katherine ellis - salty
about four or five years ago i was sent a link to a fellow on youtube who called himself the dj tutor and i started watching his clips as i found it interesting to watch. i liked johnathan lewis' style of presenting and teaching as he was quite a character. when he was still using vinyl as the guide, he used a few records for certain genres when mixing them.
for the housier tracks he played "salty" by dylan rhymes more than one time and it did get stuck in my head. i would have to say that i was transfixed with katherine ellis' rich diva vocal and it was on top a good groove. i had never heard the original before that as i heard meat katie's breakbeat rerub only through crystal method's second "community service" mix-cd. meat katie took certain liberties with his remix and one was pitching down ellis' vocal and changing the nature of the track.
i was however puzzled that i hadn't heard it before as it was the kind of progressive house as i did like if i'd heard this when it was released. tracks with heavy grooves, driving chunky bass and a brilliant vocal was the type of material i was playing anyways at the time. this was when i was trying into the scumfrog's material and loved trying to fit everything into the "magical tempo" of 131bpm.
truth be told that it isn't that different from other big room progressive house record that was released then or even now. however the bass is really good and the way rhymes works katherine ellis vocal makes me a sucker for this.
buy here (beatport)
for the housier tracks he played "salty" by dylan rhymes more than one time and it did get stuck in my head. i would have to say that i was transfixed with katherine ellis' rich diva vocal and it was on top a good groove. i had never heard the original before that as i heard meat katie's breakbeat rerub only through crystal method's second "community service" mix-cd. meat katie took certain liberties with his remix and one was pitching down ellis' vocal and changing the nature of the track.
i was however puzzled that i hadn't heard it before as it was the kind of progressive house as i did like if i'd heard this when it was released. tracks with heavy grooves, driving chunky bass and a brilliant vocal was the type of material i was playing anyways at the time. this was when i was trying into the scumfrog's material and loved trying to fit everything into the "magical tempo" of 131bpm.
truth be told that it isn't that different from other big room progressive house record that was released then or even now. however the bass is really good and the way rhymes works katherine ellis vocal makes me a sucker for this.
buy here (beatport)
les rythmes digitales - oberonne
i bought the wall of sound compilation "back 2 mono" about two years ago and again, it was a blind purchase. i had a clue on nearly all of the artists on the compilation and but i hadn't heard any of the tracks on it. the tracks i was most interested about was ceasefire's "trickshot", artery (jon carter)'s "viva revolucion" and stuart price aka les rhytmes digitales' "oberonne".
most of the album is rooted in slower side of bigbeat and that by default means producerdriven uk hiphop. it's not by any means a bad compilation but it wears it's date on it's sleeves. now for me, i don't care that it really sounds like the 1995 soundtrack of brighton's clubs & cafebars and commercials & films. i love to throw this type of music with modern music because there is still that raw edge to the music. producers were still getting sued for sampling but that just drove people to dig deeper in the crates for obscure versions and the likes.
"oberonne" is one of the few tracks on the album that goes over the 110 bpm mark and i really love this track. i have never heard this track before but after hearing it the first time it was something that was missing in my life. it was weird hearing a romping big beat track like "oberonne" from stuart price as i've never heard his first album "liberation". it also had to do that i associated this moniker with more eighties influenced material rather than this. for the record "oberonne" was also an oddity on "liberation" as most of the album was more downbeat.
what also attracted me to this track beyond the dub influences and the fierce driving rhythms was that it went into halftime at the end of the record. when i discovered this track i was trying to incorporate dubstep, grime and uk bass records of the likes into my sets but i always found it annoying how it sometimes dropped in energy as the rhythms changed.
this was excellent on how it kept the melodic aspects of the song but kicked off the regular breakbeats went into the aesthetics of halftime bass music. it is always handy to have tools like this in your crate if you want to be diverse.
listen here (youtube)
most of the album is rooted in slower side of bigbeat and that by default means producerdriven uk hiphop. it's not by any means a bad compilation but it wears it's date on it's sleeves. now for me, i don't care that it really sounds like the 1995 soundtrack of brighton's clubs & cafebars and commercials & films. i love to throw this type of music with modern music because there is still that raw edge to the music. producers were still getting sued for sampling but that just drove people to dig deeper in the crates for obscure versions and the likes.
"oberonne" is one of the few tracks on the album that goes over the 110 bpm mark and i really love this track. i have never heard this track before but after hearing it the first time it was something that was missing in my life. it was weird hearing a romping big beat track like "oberonne" from stuart price as i've never heard his first album "liberation". it also had to do that i associated this moniker with more eighties influenced material rather than this. for the record "oberonne" was also an oddity on "liberation" as most of the album was more downbeat.
what also attracted me to this track beyond the dub influences and the fierce driving rhythms was that it went into halftime at the end of the record. when i discovered this track i was trying to incorporate dubstep, grime and uk bass records of the likes into my sets but i always found it annoying how it sometimes dropped in energy as the rhythms changed.
this was excellent on how it kept the melodic aspects of the song but kicked off the regular breakbeats went into the aesthetics of halftime bass music. it is always handy to have tools like this in your crate if you want to be diverse.
listen here (youtube)
Saturday, 17 November 2012
whitney houston - in my business (featuring missy elliott)
the plan has been to write about "in my business" a long time, even prior to whitney houston's passing in february and i thought of doing it around that time but i didn't want to do it then. it's been one of my favourite whitney houston songs ever since i heard it and that was when this album was released. my mate at the time had the album and we we're at his place playing video games and he'd play albums in the background.
whitney's "my love is your love" album was something that was given a lot of spins and he wasn't into "in my business" but i loved it. i think it fit really well with her voice and it was the type of classy r&b that whitney should have done when trying to do the music "that the kids were into". the topic at hand and sound were something you could expect from the producer crop at time and especially from the hands of missy elliott.
it wasn't actually shake'spare or darkchild that was responsible for the production but elliott and kelvin bradshaw & lloyd "spec" turner. the latter two was formerly of obscure r&b group basic black, not something that i knew but i thank discogs for that information.
the three also produced another song for houstons album called "oh yes" but i remeber that i didn't like that. i think it sounded like toni braxton's "unbreak my heart" and i really don't like that song.to be honest i think "in my business" also sounds like something else, mainly destiny's child's "bills, bills, bills" & tlc's "no scrubs" but i like those songs so i don't mind the slight similarities.
buy here (7digital)
whitney's "my love is your love" album was something that was given a lot of spins and he wasn't into "in my business" but i loved it. i think it fit really well with her voice and it was the type of classy r&b that whitney should have done when trying to do the music "that the kids were into". the topic at hand and sound were something you could expect from the producer crop at time and especially from the hands of missy elliott.
it wasn't actually shake'spare or darkchild that was responsible for the production but elliott and kelvin bradshaw & lloyd "spec" turner. the latter two was formerly of obscure r&b group basic black, not something that i knew but i thank discogs for that information.
the three also produced another song for houstons album called "oh yes" but i remeber that i didn't like that. i think it sounded like toni braxton's "unbreak my heart" and i really don't like that song.to be honest i think "in my business" also sounds like something else, mainly destiny's child's "bills, bills, bills" & tlc's "no scrubs" but i like those songs so i don't mind the slight similarities.
buy here (7digital)
Friday, 16 November 2012
örtz - secret garden (brother brown dub)
"secret garden" was something i discovered a few years after it's release when browsing the big star records output on discogs. i didn't know about it or "we don' talk" which was the single prior to it. örtz was started as trip-hop act and was by hans hensen and majbritt örtz. they used the tried and tested uk formula of the man making tracks and the woman singing a la lamb & mandalay.
"we don't talk" was taken from their 2000 album "another eden" and i don't know who made the decision but big star picked it up and ordered up plenty of remixes. fellow countrymen brother browns version served as the main club mix but it had versions by fairlite, asle (also danish acts), drax & gooding, kaycee and alaska. the brother brown remix did well on charts and dancefloors and this led to a second single on big star.
"secret garden" in it's original state is something between mandalay's "flowers bloom" & the beloved's "the sun's rising" with a big touch of giorgio moroder, all filtered through a modern progressive house perception. helping out hans hensen on production was brother brown and while the original is nice i think their dub is much better.
apart from the obvious that the vocal being taken a backseat role, the sounds are shifted focus and they use the guitar parts in affect along with the vocals to fit the nature of the track. while the midrange-y bassline is moving the fastest with it's 16th note movements the rest of the track is trawling at a moderate pace. the downbeat is dominated more by the reverbed bongo groove and i think this is done to evoke a dubby soundscape.
it really makes for an interesting track and a great production.
buy here (beatport)
"we don't talk" was taken from their 2000 album "another eden" and i don't know who made the decision but big star picked it up and ordered up plenty of remixes. fellow countrymen brother browns version served as the main club mix but it had versions by fairlite, asle (also danish acts), drax & gooding, kaycee and alaska. the brother brown remix did well on charts and dancefloors and this led to a second single on big star.
"secret garden" in it's original state is something between mandalay's "flowers bloom" & the beloved's "the sun's rising" with a big touch of giorgio moroder, all filtered through a modern progressive house perception. helping out hans hensen on production was brother brown and while the original is nice i think their dub is much better.
apart from the obvious that the vocal being taken a backseat role, the sounds are shifted focus and they use the guitar parts in affect along with the vocals to fit the nature of the track. while the midrange-y bassline is moving the fastest with it's 16th note movements the rest of the track is trawling at a moderate pace. the downbeat is dominated more by the reverbed bongo groove and i think this is done to evoke a dubby soundscape.
it really makes for an interesting track and a great production.
buy here (beatport)
miguel migs - moving on (delightful dub)
when i bought "moving on" a number of years ago i was actually looking for "do it for you" but i couldn't find in the recordstores of stockholm so i picked up "moving on" instead. eventually i did also pick up "do it for you" but if i would write about that, i'd pick the "bump the tech dub". which is the breakbeat version of the pack and so is this version of "moving on"
"moving on" features the vocal talents of lagerald normand which also has been heard on migs' classic naked music classic "surrended". it is a funky house track with a chunky bassline and this phased keyboard sequence. as with migs more uptempo output there is the element of syncopation with in the drums and the groove.
you noticed this especially if he titles versions of the song as "bump" and being a bit of a fan of migs work i have seen all sorts of variations & combinations of :"dub", "tech", "rub", "bump", "deluxe" and "pusher". the latter one comes from his moniker naked music moniker "petalpusher". "bump" in miguel migs case means a counter element in the percussion right before the snare and kicks, often resulting in a sound that people in the urban music scene call "dem bow". from the rhythmics on shabba ranks' 1991 single, which was produced by bobby "digital" dixon. in modern times it's known for being the key rhytmical element in reggaeton.
the "delightful dub" takes off some of the percussion from the four on the floor groove and the result is that the bassline shines even more. in general it is more lighter but it has a more of a swing and is the kind of track that would work nice in a set because of it. i play it with more breakbeat related elements and especially uk garage but i think it was meant for more housier grooves but it works either way. it's a great piece of bump.
buy here (junodownload)
"moving on" features the vocal talents of lagerald normand which also has been heard on migs' classic naked music classic "surrended". it is a funky house track with a chunky bassline and this phased keyboard sequence. as with migs more uptempo output there is the element of syncopation with in the drums and the groove.
you noticed this especially if he titles versions of the song as "bump" and being a bit of a fan of migs work i have seen all sorts of variations & combinations of :"dub", "tech", "rub", "bump", "deluxe" and "pusher". the latter one comes from his moniker naked music moniker "petalpusher". "bump" in miguel migs case means a counter element in the percussion right before the snare and kicks, often resulting in a sound that people in the urban music scene call "dem bow". from the rhythmics on shabba ranks' 1991 single, which was produced by bobby "digital" dixon. in modern times it's known for being the key rhytmical element in reggaeton.
the "delightful dub" takes off some of the percussion from the four on the floor groove and the result is that the bassline shines even more. in general it is more lighter but it has a more of a swing and is the kind of track that would work nice in a set because of it. i play it with more breakbeat related elements and especially uk garage but i think it was meant for more housier grooves but it works either way. it's a great piece of bump.
buy here (junodownload)
Thursday, 15 November 2012
safri duo - all the people in the world (f&w remix)
the original was a song that my older sister liked at the time it was released. i think i bought the cd-single because i had heard one of the remixes and was into it. it was this one and i was quite into the epic trance at time. i liked safri duo's "episode II" album but "all the people in the world" wasn't the obvious hit for me like say "played-a-live" was and i was reluctant to it but i bought the single anyways because it had remixes.
and if it was something i loved with the safri duo songs, it was the a load of remixes that was done. i really enjoy spanish fly's lush version of "played-a-live", riva's groovy trancy take of "samb adagio", dj asle's progressive house version of "everything" and not forgetting atfc's swanky house versions of "baya baya". on this cd single the remixers included steve mac, dj isaac and their country men f&w. there was also a remix by the "copenhagen clubbers" but i'm not mourning the loss of that on my single.
steve mac's remix is something that i have tried to give a chance to many of times but it really doesn't click with me. dj isaac's take is bog ol' hardstyle and it's not the type of hardstyle that i might enjoy either and the version that resonated with me was this by lars fredriksen and søren weile or f&w. their previous track record include producing "light a rainbow" as tukan and making the immensly brutal hardcore classic "sensless" as zekt as well as making a whole load of other tracks.
the f&w sound was very synthesizer driven and it can easily be mistaken as the dutch epic sound but it's different. several of the melodies sounded like those leadlines but it was their use of ducking that could tell it apart. the kick really cuts across the cloud of buzzing resonance and there was a groove, even with the synth on synth action that dominated the soundscape.
because of all this focus on the synth you would wonder, are they using safri duo's drums & percussion? the answer is yes but they aren't audible in that way. this is why the groove is alright as the bassline and the drums work wonders with it.
now in a context of dj, i don't want to play this as much if i was playing trance. reason beings that it uses two breakdowns and i haven't gotten around to doing a re-edit that has worked out yet. also because of it's heavy synth sound makes it a nightmare to mix in midtrack and i really don't believe in mixing from the drops.
i still like this a lot though and i well recommend it.
buy here (itunes)
and if it was something i loved with the safri duo songs, it was the a load of remixes that was done. i really enjoy spanish fly's lush version of "played-a-live", riva's groovy trancy take of "samb adagio", dj asle's progressive house version of "everything" and not forgetting atfc's swanky house versions of "baya baya". on this cd single the remixers included steve mac, dj isaac and their country men f&w. there was also a remix by the "copenhagen clubbers" but i'm not mourning the loss of that on my single.
steve mac's remix is something that i have tried to give a chance to many of times but it really doesn't click with me. dj isaac's take is bog ol' hardstyle and it's not the type of hardstyle that i might enjoy either and the version that resonated with me was this by lars fredriksen and søren weile or f&w. their previous track record include producing "light a rainbow" as tukan and making the immensly brutal hardcore classic "sensless" as zekt as well as making a whole load of other tracks.
the f&w sound was very synthesizer driven and it can easily be mistaken as the dutch epic sound but it's different. several of the melodies sounded like those leadlines but it was their use of ducking that could tell it apart. the kick really cuts across the cloud of buzzing resonance and there was a groove, even with the synth on synth action that dominated the soundscape.
because of all this focus on the synth you would wonder, are they using safri duo's drums & percussion? the answer is yes but they aren't audible in that way. this is why the groove is alright as the bassline and the drums work wonders with it.
now in a context of dj, i don't want to play this as much if i was playing trance. reason beings that it uses two breakdowns and i haven't gotten around to doing a re-edit that has worked out yet. also because of it's heavy synth sound makes it a nightmare to mix in midtrack and i really don't believe in mixing from the drops.
i still like this a lot though and i well recommend it.
buy here (itunes)
jessie ware - no to love (ewan pearson's permissive society remix)
"110%" has been something that was circulating in my head for the last couple of days. reason being that i was very late on catching on to that track but i don't know what to write about it that hasn't been said already. anyhow i recently started following ware on soundcloud and remies of album track "no to love" was uploaded and since it included names such as george fitzgerald, todd edwards and ewan pearson, i was interested.
never heard the original prior to that but after hearing it to check on what the following producers had done to it, i did like it. the original is very early 90's r&b from the british perspective, countless reviews mention the words "lisa stansfield" & "soul II soul" and i can hear it. especially with the combination of her collaborator dave okumu adding a rap to the song.
fitzgeralds remix is well done and would work nicely on a dancefloor but it doesn't grab me. todd edwards version has a killer drum loop that dictate the groove and i like it a lot. i had problems with picking between pearson's interpretation and edwards' remix as they are both stellar but in the end the former won. reason being that edwards' may have the groove but pearson has the mood and the seductive build.
ewan pearson works up a slice of hypnotic techno with a rolling bassline and chorus-affected percussion. the main synth sequences are buzzing in all the right ways and the resonance sparkle when it changes keys. pearson uses the vocal bits to great use and you hear both okumu and ware's lines in repetition. as it progresses the tension really cuts through and in the breakdown it reaches as elements are dragged in delays. the result is the classic approach of cold metallic beats meets warm vocals and elements that is quite techno.
buy here (beatport)
never heard the original prior to that but after hearing it to check on what the following producers had done to it, i did like it. the original is very early 90's r&b from the british perspective, countless reviews mention the words "lisa stansfield" & "soul II soul" and i can hear it. especially with the combination of her collaborator dave okumu adding a rap to the song.
fitzgeralds remix is well done and would work nicely on a dancefloor but it doesn't grab me. todd edwards version has a killer drum loop that dictate the groove and i like it a lot. i had problems with picking between pearson's interpretation and edwards' remix as they are both stellar but in the end the former won. reason being that edwards' may have the groove but pearson has the mood and the seductive build.
ewan pearson works up a slice of hypnotic techno with a rolling bassline and chorus-affected percussion. the main synth sequences are buzzing in all the right ways and the resonance sparkle when it changes keys. pearson uses the vocal bits to great use and you hear both okumu and ware's lines in repetition. as it progresses the tension really cuts through and in the breakdown it reaches as elements are dragged in delays. the result is the classic approach of cold metallic beats meets warm vocals and elements that is quite techno.
buy here (beatport)
Wednesday, 14 November 2012
alina devercerski - jag svär
what's this, another swedish pop song? that is correct and "jag svär" ("i swear") is the first of devercerski's three singles that i genuinely like outside the context of drunken shenanigans. the last comment is regards to the fact that i have danced and had a good time to her breakout single "flytta på dig" ("get out of the way") but it was annoying after a while. "ikväll skiter jag i allt" ("tonight i don't give a shit") was a clone of "flytta på dig" and a really poorly one while we are at it.
a big reason why i like this is the drums and the snares that is really cutting through. when they are given a solo, they play this roll that is sort of marching band but more machinegun. there is also the synthmelody that sounds like it's emulating an oboe that plays the right kind of sweet melancholy. deverceski's singing reminds me of avril lavigne for the lack of any less obvious reference points but i don't see it as a negative thing.
the track in general reminds me of le tigre but with more rave. it's excellent.
buy here (itunes)
a big reason why i like this is the drums and the snares that is really cutting through. when they are given a solo, they play this roll that is sort of marching band but more machinegun. there is also the synthmelody that sounds like it's emulating an oboe that plays the right kind of sweet melancholy. deverceski's singing reminds me of avril lavigne for the lack of any less obvious reference points but i don't see it as a negative thing.
the track in general reminds me of le tigre but with more rave. it's excellent.
buy here (itunes)
illuminatae - brick house (l.b.'s theme)
this one i first heard on torsten fenslau's set from german radiostation hr3's special clubnight event at the hessentag in july of 1993. a friend of mine passed the set onto me in 2006 or so and it quickly became a favourite as it was all sorts of madness. fenslau had a fired up crowd and played some of the big club hits the first half of the set and then started playing more different stuff. i discovered things like structure's "emergency", tranceformer's "be my lover", bassman / de la ray's "las palmas" and this track.
"brick house (l.b.'s theme)" is from the second illuminatae / xvx ep where the a-side is the sublime acid trancer "tempestada". the persons behind is gordon matthews and doug osbourne, or as they're more known respectively dj edge and one third of sourmash and razor's edge. part of made like this track was that it changed mood over the following six minutes.
it starts very atmospheric and there is an idea of maybe it could be a balearic piece of music but that is nixed when as the percussion kicks in. once the beat is full force it's kind standard 90's club techno and when the bassline kicks in there is a nice groove. then comes an element that is very early 90's where it goes into a section of a chunky ravey lead dominating. that doesn't stay for long and it goes back into the groove but it starts to build for the small drop near the end. those pads from the intro makes an appearance again and as the break ends it goes into beats as it's mixout section.
structurally it's very ninetees as it cuts through sections and there isn't the idea of taking time for the music as the dj knows how to play something like this. it's fun but i've had terrible experience playing it as i didn't know how to work it but that changed eventually. it's a killer track and a few years ago i would have said, i have no idea if it would ever fit the context of a modern set but given the room and it would.
listen here (youtube)
"brick house (l.b.'s theme)" is from the second illuminatae / xvx ep where the a-side is the sublime acid trancer "tempestada". the persons behind is gordon matthews and doug osbourne, or as they're more known respectively dj edge and one third of sourmash and razor's edge. part of made like this track was that it changed mood over the following six minutes.
it starts very atmospheric and there is an idea of maybe it could be a balearic piece of music but that is nixed when as the percussion kicks in. once the beat is full force it's kind standard 90's club techno and when the bassline kicks in there is a nice groove. then comes an element that is very early 90's where it goes into a section of a chunky ravey lead dominating. that doesn't stay for long and it goes back into the groove but it starts to build for the small drop near the end. those pads from the intro makes an appearance again and as the break ends it goes into beats as it's mixout section.
structurally it's very ninetees as it cuts through sections and there isn't the idea of taking time for the music as the dj knows how to play something like this. it's fun but i've had terrible experience playing it as i didn't know how to work it but that changed eventually. it's a killer track and a few years ago i would have said, i have no idea if it would ever fit the context of a modern set but given the room and it would.
listen here (youtube)
Tuesday, 13 November 2012
mini reviews #14
fourteenth edition now and again one long overdue in my mind. another person that is on my mind when i was starting this but for whatever reasons it was left in the back of mind, sorry for that. he is jason c (also known as le freak) and i know him from a musicrelated forum where he's proven to be quite a character. i did not like him in the beginning but his taste in music and dj-sets have turned me over and the fact that is one of the best at being the internet douchebag you love.
he's from the great country of canadia but stems with italian roots and swears that he is the longlost brother of chilean techno dj ricardo villalobos. he's also great and marketing himself and will hand you a link to his latest or not so latest djset in a heartbeat, and chances is that you will like it. on with the selections then...
01. somfay - fricative white (from a whisper to a scream) [archipel] (2007) | soundcloud
this owes a lot to brian eno but it's brilliant. it's a masterful piece of techno,...errr not just techno, music.
02. jean leloup - je joue de la guitare [audiogram] (1998) | youtube
on the fence with this one. i really like the emotion he pours into it but otherwise it doesn't faze me.
03. tanita tikaram - twist for tanita [bootleg tago 001] (2010) | youtube
i've never liked the original. this refix doesn't change that fact.
04. unkle featuring mike d - the knock (drums of death part 2) [mo wax] (1995) | youtube
proper solid hiphop, good stuff from all parts involved. shadow's mpc fuckaround-session in the middle is insanely immense.
05. free - mr. big [island records] (1970) | youtube
that groove, it's so funky.
06. hugh masekela - mama (metro area birthday dub) [verve records] (2003) | youtube
loved this ever since i first heard verve remixed 2 back in '05.
07. omar-s - set it out [fxhe] (2003) | youtube
it's nice but i'll take midway's original any day over it.
08. cave - street carnival [ignoma] (2003) | youtube
like this quite a bit, it was seen as a "give it up" clone when it was released but it used the sergio mendes samples well.
09. icarus - round midnight [jericho] (1998) | youtube
tenaglia played this on his first global underground mix where it was pitched down, great piece of techno, prefer it slower though.
10. sista bob - charmin [pastamusik] (2003) | youtube
the way jichael mackson slices up the mancini sample is immense. the outcome is house with the herrmann's theme from psycho but on uppers.
thanks for those ten jason. and as always i asked if he wanted to anything extra about his picks and the response was:
he's from the great country of canadia but stems with italian roots and swears that he is the longlost brother of chilean techno dj ricardo villalobos. he's also great and marketing himself and will hand you a link to his latest or not so latest djset in a heartbeat, and chances is that you will like it. on with the selections then...
01. somfay - fricative white (from a whisper to a scream) [archipel] (2007) | soundcloud
this owes a lot to brian eno but it's brilliant. it's a masterful piece of techno,...errr not just techno, music.
02. jean leloup - je joue de la guitare [audiogram] (1998) | youtube
on the fence with this one. i really like the emotion he pours into it but otherwise it doesn't faze me.
03. tanita tikaram - twist for tanita [bootleg tago 001] (2010) | youtube
i've never liked the original. this refix doesn't change that fact.
04. unkle featuring mike d - the knock (drums of death part 2) [mo wax] (1995) | youtube
proper solid hiphop, good stuff from all parts involved. shadow's mpc fuckaround-session in the middle is insanely immense.
05. free - mr. big [island records] (1970) | youtube
that groove, it's so funky.
06. hugh masekela - mama (metro area birthday dub) [verve records] (2003) | youtube
loved this ever since i first heard verve remixed 2 back in '05.
07. omar-s - set it out [fxhe] (2003) | youtube
it's nice but i'll take midway's original any day over it.
08. cave - street carnival [ignoma] (2003) | youtube
like this quite a bit, it was seen as a "give it up" clone when it was released but it used the sergio mendes samples well.
09. icarus - round midnight [jericho] (1998) | youtube
tenaglia played this on his first global underground mix where it was pitched down, great piece of techno, prefer it slower though.
10. sista bob - charmin [pastamusik] (2003) | youtube
the way jichael mackson slices up the mancini sample is immense. the outcome is house with the herrmann's theme from psycho but on uppers.
thanks for those ten jason. and as always i asked if he wanted to anything extra about his picks and the response was:
if you aren't random you aren't trying. http://www.soundcloud.com/le-freak. this list would be different on different days. rhis is my rifle, this is my gun, this is for pleasure, this is for fun.right on.
age of love - the age of love (sign of the time mix)
here is another case where pointing out that the first time i heard about said song is pointless because of it's stature in trance music. for whatever reason it's heralded as one of the first trance records as it was released in 1990, but it's not and the original is more rooted with in belgian new beat & techno than trance. the original however never saw the big shine like it got in 1992 licensed off belgian label diki to uk label react and was given a new treatment by german act jam & spoon.
the original was produced by bruno sanchioni and giuseppe cherchia (aka pino d'angio). the latters role in the track has been heard quite minimally in versions after the 1990 release. cherchia delivered a rap of some sorts and the parts that has been used in other releases are this segment where he says "the age of love" in a rhythmic style. sanchioni's melodies and sounds in the two/three (depends on how you count as it's two variations on one of the mixes) are found in future versions but after jam & spoons remix they seem to work on how they used them.
i would guess as a lot of the producers making remixes after 1992 saw jam & spoon's watch out for stella remix as the defacto original and it's been regarded as that. now jam el mar and mark spoon recorded two versions of their remix of "the age of love" and the "sing of the time mix" is the least known one. i wouldn't say it's obscure as it's been on other releases and most of the kids that downloaded "the age of love" has heard it but i don't think it's the version they like.
to be honest i didn't like it either at first as it was crude and a little rawer than the "watch out for stella mix" and it was a breakbeat mix also. i would say that steve gerrard (wrecked angle)'s breakbeat remix from '02 was much better produced and also favoured by dj's such as sasha & john digweed and the likes. my good friend jyri lehtinen said it was because it's the watch out for stella remix with updated production and breaks.
part of my liking of this version and it is my favourite version of the song is because it's unorthodox in it's shape and the rawness of the production. it all starts with the big intro with the melodies & vocals that slowly build up this version. once it reaches a fever pitch jam & spoon uses the age old move of taking it down again and it works really well. when it kicks in it's a fairly decent percussive groove and the main synthsequence that greets you and then a big tr-808 kick punches in.
the clap comes in later but it doesn't really fit with the kick as the sound it's tailed with takes makes too much of a presence. the build up with the beat is equally brilliant as in the "watch out for stella mix" as highpitched acid sounds create such brilliant tension for it all to release halfway in. it's also here where the beat changes as that bassheavy tr-808 kick punches in at all four. the payoff isn't as obvious as in the main mix but it's enough to make it work in a set.
my favourite moment in the song is when it's just the kick and the choir sample and there is a great dissonance. the bass that is coming off from the lower end is clearly clashing with the choir and it's maybe done purposely but i doubt it. however it was done, it's a great remix of "the age of love"
buy here (beatport)
the original was produced by bruno sanchioni and giuseppe cherchia (aka pino d'angio). the latters role in the track has been heard quite minimally in versions after the 1990 release. cherchia delivered a rap of some sorts and the parts that has been used in other releases are this segment where he says "the age of love" in a rhythmic style. sanchioni's melodies and sounds in the two/three (depends on how you count as it's two variations on one of the mixes) are found in future versions but after jam & spoons remix they seem to work on how they used them.
i would guess as a lot of the producers making remixes after 1992 saw jam & spoon's watch out for stella remix as the defacto original and it's been regarded as that. now jam el mar and mark spoon recorded two versions of their remix of "the age of love" and the "sing of the time mix" is the least known one. i wouldn't say it's obscure as it's been on other releases and most of the kids that downloaded "the age of love" has heard it but i don't think it's the version they like.
to be honest i didn't like it either at first as it was crude and a little rawer than the "watch out for stella mix" and it was a breakbeat mix also. i would say that steve gerrard (wrecked angle)'s breakbeat remix from '02 was much better produced and also favoured by dj's such as sasha & john digweed and the likes. my good friend jyri lehtinen said it was because it's the watch out for stella remix with updated production and breaks.
part of my liking of this version and it is my favourite version of the song is because it's unorthodox in it's shape and the rawness of the production. it all starts with the big intro with the melodies & vocals that slowly build up this version. once it reaches a fever pitch jam & spoon uses the age old move of taking it down again and it works really well. when it kicks in it's a fairly decent percussive groove and the main synthsequence that greets you and then a big tr-808 kick punches in.
the clap comes in later but it doesn't really fit with the kick as the sound it's tailed with takes makes too much of a presence. the build up with the beat is equally brilliant as in the "watch out for stella mix" as highpitched acid sounds create such brilliant tension for it all to release halfway in. it's also here where the beat changes as that bassheavy tr-808 kick punches in at all four. the payoff isn't as obvious as in the main mix but it's enough to make it work in a set.
my favourite moment in the song is when it's just the kick and the choir sample and there is a great dissonance. the bass that is coming off from the lower end is clearly clashing with the choir and it's maybe done purposely but i doubt it. however it was done, it's a great remix of "the age of love"
buy here (beatport)
Monday, 12 November 2012
toffer - kebabrulle
one of my earliest entries was about sexfemman's wonderful ode to the art of fika, or coffee-break as it would be known elsewhere maybe, called "punchrulle". i still to this date love that song and when i heard dj grass play a version of it on ametist azordegan's radioshow "en kärleksattack på svensk hiphop" i was intrigued.
found out quickly that it was swedish rapper toffer who went and did the version and i thought it was going to be on a future mixtape or release so i waited. it was played another time on the show and toffer kept tweeting out his variation of the hook from time to time. in toffer's version it became "till min zuttish vill ja kanelbulle, fyra/fem snickers och en kebabrulle" ("to my doobage i want a cinnamon bun, four or five snickers (bars) and a (döner) kebab roll*").
until a few weeks ago when he tweeted out a different variation of the hook with the punchline ending on "veganrulle", which is a wrap of vegetables and mushrooms. a little later there was a link to a soundcloud file from patrick arve/swedish tiger sound (also one third of teddybears sthlm). toffer spit a variation of the song on the dnb version of his wild animal ting riddim, i thought it was amazingly good as it was toffer's surefire flow on some banging amen drums.
i was going to write about that version but when i thought of doing so, the song was taken down and i asked toffer on twitter what was the deal. he responded with that it was a matter of record company business and when i asked when the regular version was to be released, he said "soon". a few days after that petter & dj sleepy's label baba recordings announced that "kebabrulle" was to be a new single. since the original "punchrulle" was produced by marcus price and released on price's slang musik label, the ability to release a version of a song like this is easier without all the legal hassle.
toffer's version of the song if an ode to the munchies that appear with smoking weed and whatnot and toffer does it really well. i enjoy his flow and his take on the song and i am loving this track, maybe not as much as the original but it's close.
buy here (itunes)
*döner kebab served in a wrap of pita bread with salad, tomatoes, sauce, garlic and fefferoni (pickled green pepper/peperoncini)
found out quickly that it was swedish rapper toffer who went and did the version and i thought it was going to be on a future mixtape or release so i waited. it was played another time on the show and toffer kept tweeting out his variation of the hook from time to time. in toffer's version it became "till min zuttish vill ja kanelbulle, fyra/fem snickers och en kebabrulle" ("to my doobage i want a cinnamon bun, four or five snickers (bars) and a (döner) kebab roll*").
until a few weeks ago when he tweeted out a different variation of the hook with the punchline ending on "veganrulle", which is a wrap of vegetables and mushrooms. a little later there was a link to a soundcloud file from patrick arve/swedish tiger sound (also one third of teddybears sthlm). toffer spit a variation of the song on the dnb version of his wild animal ting riddim, i thought it was amazingly good as it was toffer's surefire flow on some banging amen drums.
i was going to write about that version but when i thought of doing so, the song was taken down and i asked toffer on twitter what was the deal. he responded with that it was a matter of record company business and when i asked when the regular version was to be released, he said "soon". a few days after that petter & dj sleepy's label baba recordings announced that "kebabrulle" was to be a new single. since the original "punchrulle" was produced by marcus price and released on price's slang musik label, the ability to release a version of a song like this is easier without all the legal hassle.
toffer's version of the song if an ode to the munchies that appear with smoking weed and whatnot and toffer does it really well. i enjoy his flow and his take on the song and i am loving this track, maybe not as much as the original but it's close.
buy here (itunes)
*döner kebab served in a wrap of pita bread with salad, tomatoes, sauce, garlic and fefferoni (pickled green pepper/peperoncini)
sir sampalot - crack rock man
this one comes from a recently released mixtape by the good folks of teknomadix records and they wanted to keep it to the truest form of the word. an actual cassette and the a-side was produced by DØS.pütin and the b-side was produced by rikard bizzi aka skizz, sir sampalot, funkenteller, one half of stockholmssyndromet and formerly of up hygh. needless to say, i am a fan of bizzi and his mastery of beats and bass but also his rapping, lyrical abilities and also his smoky seductive singing voice.
i head the mixtape when skizz favourited the upload by teknomadix a few weeks ago and i had to have it when it was released. i enquired teknomadix on twitter if it was going to able to purchase digitally because i don't have a tapedeck but i still want to support skizz as i liked it. yeah, sure enough and i bought it yesterday and bizzi's beats and bass was blasted all day yesterday.
one of the best tracks of the whole set was this one "crack rock man", but to be really honest i could write about a number of tracks as they are all brilliant. 16:30 into the tape comes a really familiar melody and anyone who's played megaman 3 knows it as the whistle melody that plays when proto man / break man shows up. reason the the track is called crack rock man is clever wordplay as megaman was originally called rock man in the japanese release and rock or rocks is slang for crack cocaine.
bizzi replays it perfectly and sets it to his drum machines and synths and forms an awesome piece of music. the bottom end bangs hard as usual with bizzis productions and the detail in the melodic elements is perfect with more of the original song being played. i had this segment or song play on repeat for a long time when i bought the file.
more brilliance from the tape also include "bully", "phonkk", "oil slick", "c-shells by the c-shure" and his remix of keak da sneak's "cop heavy".
buy here (bandcamp)
i head the mixtape when skizz favourited the upload by teknomadix a few weeks ago and i had to have it when it was released. i enquired teknomadix on twitter if it was going to able to purchase digitally because i don't have a tapedeck but i still want to support skizz as i liked it. yeah, sure enough and i bought it yesterday and bizzi's beats and bass was blasted all day yesterday.
one of the best tracks of the whole set was this one "crack rock man", but to be really honest i could write about a number of tracks as they are all brilliant. 16:30 into the tape comes a really familiar melody and anyone who's played megaman 3 knows it as the whistle melody that plays when proto man / break man shows up. reason the the track is called crack rock man is clever wordplay as megaman was originally called rock man in the japanese release and rock or rocks is slang for crack cocaine.
bizzi replays it perfectly and sets it to his drum machines and synths and forms an awesome piece of music. the bottom end bangs hard as usual with bizzis productions and the detail in the melodic elements is perfect with more of the original song being played. i had this segment or song play on repeat for a long time when i bought the file.
more brilliance from the tape also include "bully", "phonkk", "oil slick", "c-shells by the c-shure" and his remix of keak da sneak's "cop heavy".
buy here (bandcamp)
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