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October 30 2017


September 18 2017


July 25 2017


June 08 2017


Aqual(o)unge 15

[Download link of the podcast episode is at the end of this post]

Nearly one year after the release of its predecessor here’s now the 15th volume of the mix series:

  1. 00:00 – 01:43 THE NORTHERN DIVIDE – saltwater CC BY-NC-SA
  2. 00:15 – 03:37 SMOOTH – cold rain orchestra [CYAN 076] CC BY-NC-ND
  3. 02:15 – 05:06 OCRALAB – opacus (substak remix) [Deep Electronics] CC BY-NC-ND
  4. 04:05 – 07:56 BUNTARO TORIYAMA – passing days [Energostatic Records] CC BY-NC-ND
  5. 06:12 – 09:20 ISHII FUWA – tenth floor [Bump Foot bump199] CC BY-NC-SA
  6. 08:24 – 10:41 – – no [elementperspective EPV_199] CC BY-NC
  7. 09:28 – 12:22 THOMAS CARMODY – the waves [Energostatic Records] CC BY-NC-ND
  8. 11:53 – 15:41 DUBLICATOR – vibronic Transition [Cold Fiction Music] CC BY-NC-SA
  9. 14:19 – 18:07 TVSKY – infinity mirror [insectorama075] CC BY-NC-ND
  10. 17:02 – 20:23 ERICH SCHALL – dubcutan [Basic Sounds bsc_057] CC BY-ND
  11. 19:39 – 23:14 PAR – ser persona – zmek remix CC BY-NC-ND
  12. 22:05 – 25:44 OLEXA – foaming waves [Energostatic Records] CC BY-NC-ND
  13. 24:06 – 29:04 HIKE – berlin Arrival [Cold Fiction Music] CC BY-NC-SA
  14. 27:55 – 30:29 GREGORY TECK – Neutrino [Kopoc Label KPL038] CC BY-NC-ND
  15. 29:50 – 32:13 WOLFGROWL – sixth Floor [picpack236] CC BY-ND
  16. 30:30 – 35:09 SOVA SOUND THEORY – a long journey to nowhere [eden.deeply ED028] CC BY-NC
  17. 33:40 – 37:02 HALDYN – aarnivalkea [eden.deeply ED041] CC BY-NC
  18. 35:53 – 40:28 OUD!N13 – a Moment [Energostatic Records] CC BY-NC-ND
  19. 38:57 – 42:03 ALISU – ultramarine [epa sonidos epa094] CC BY-NC
  20. 40:50 – 43:43 AYQIX – pijchuy (ohrwert alter) [Temiong Recordings] CC BY-NC-SA
  21. 42:51 – 45:25 BITTER SUSS – meet me at six [insectorama069] CC BY-NC-ND
  22. 44:32 – 47:29 ATABEY – adeos 2 [Energostatic Records] CC BY-NC-ND
  23. 46:36 – 49:18 GEOLM – fled (festival mix) [wavelike wave019] CC BY-NC-ND
  24. 49:01 – 50:07 SEAN WALSH – i thought i lost myself [Drift Deeper Recordings ddr012] CC BY-NC-ND
  25. 49:52 – 52:26 OUTLAW PRODUCER – body (mate rmx) [Noisybeat Extended 013] CC BY-NC-ND
  26. 51:56 – 54:27 SUBSTAK – cuento II [Kopoc Label KPL039] CC BY-NC-ND
  27. 53:08 – 56:56 WK[ES] – monolith (positive centre remix) [Hz-records A001] CC BY-NC-SA
  28. 55:00 – 58:05 EEEM [EIM] – shore I CC BY-NC-SA
  29. 56:56 – 59:13 SANGAM – point said… [No Problema Tapes NOP-053] CC BY
  30. 58:17 – 00:00 THE NORTHERN DIVIDE – saltwater CC BY-NC-SA

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April 19 2017


Reggie Dokes – Ten-5 / Recloose – Spirit Knows

Reggie Dokes – 10-5
Around 2011 / 2012 Reggie Dokes, the Atlanta based Detroiter, went off the radar in terms of house and techno. 4 years can be a long time in the fickle world of the hype machine and Dokes return last year was pretty low-key in this regard, even though it was a double whammy of new music from him plus the relaunch of his Psychostasia Recordings imprint. After 2 solid 12s on there and another one for new ATL imprint People Of Earth, his first release of ’17 comes from We Play House out of Belgium, a label he worked with before on this lush 12″.

WPH TEN-5 Reggie Dokes E.P. by We Play House Recordings
This 2 tracker it has to be said is a little unbalanced. On one side we have Transpose, a somewhat non-descript tracky effort – with additional editing / “directing” from WPH boss man Red D. It has that sort of rugged sparseness one used to find from Theo Parrish, but it never sucks you in. On the other hand, the 10″ delivers in spades with Jazz is my Mistress. This is some prime classic Dokes bizness. A gritty, funky bassline matched with those eerie, stirring keys that have been the cornerstone of some of his best work over the years marks Jazz is my Mistress as reason enough to have missed Dokes over the last half a decade. Welcome Back.

Recloose – Spirit Knows

If you are looking for consistency in house music you don’t really have to look much further than Matthew Chicoine. who has been delivering consistently since the late ’90s with no sign of letting up. After a pretty enjoyable 12″ on Aus Music last year, his second outing for the imprint steps it up to another level.  A man who knows his way around a squelchy bass bass riff, the lead track is just flawless; free flowing house music where said bass, svelte vox and swinging drums compliment each other perfectly before some keys rock in half way through, just in case we didn’t think the track wasn’t good enough already.

On the flipside No I Don’t does its very best to match the class of the title track, and it really doesn’t come up short either, a slightly more low slung affair, that may not be as instant but will still do the business on the ‘floor. It’s only on the final Ezrakh-Geomancer that the 12″ lose me a little bit. The backing track is lovely but the vocals irk me from time to time, with me kinda wishing they were cut back a little bit – spoken word vocals are hard to get right for me –  to let the track breath on its own, but its only really that its up against such high quality on the rest of the release that it comes out as being a bit inferior.

The post Reggie Dokes – Ten-5 / Recloose – Spirit Knows appeared first on InfiniteStateMachine.

April 09 2017


Mix: Mad Things in the Queue, Into the Clouds / Hessle Audio Radio

First mix of the year – I know, its already April – went out on the Rinse FM airwaves last Thursday as part of the Hessle Audio show. Originally asked to record it as part of a series of label profiles, my laziness got the better of me and I missed the boat on that but I decided that I’d still focus it a little bit on the label. More so, at least, than most of my mixes do. It’s been nearly 2 years since Apartment has released any records, but this has not been  by design. Non-music related elements of life meant that the dormant period has lasted longer than I planned. But the next Apartment release has gone into production and features, along with music from 3 more upcoming APT releases, in this mix. I’m not gonna say which it is just yet but I’ll have full details soon enough. The mix starts around 58 minutes into the recording. Cheers to Lerosa for using his set up – I still don’t own a cdj – and to Ben Ufo for asking us to put it together.

Mad Things in the Queue, Into The Clouds 

Ordinate – OR 05 [Abscissa]
Mark Broom – Deal Or No Deal [D1 Recordings]
NCW – Cluffy’s Dream [Apartment / forthcoming]
Lerosa – Blood [Barba]
Dj Overdose – Arecibo [Lunar Disko / forthcoming]
Helena Hauff – Spirals Of Smoke Drifting From Soot Stained Chimneys [Panzerkreuz Records]
Mr Cisco – Mixage [Klaxon]
Jorge Velez – Baby Whale (Coral Cassete Extended Edit) [Berceuse Heroique]
Tr One – Herd Of Trains [Pogo Recordings]
Chase Smith – Mariana [Apartment / forthcoming]
Hieroglyphic Being – This Is 4 The Rave Bangers [Technicolour]
Compassion Crew – habitue 11 [Major Problems Records]
Underground Resistance – Hardlife (Aaron Carl Remix) [Underground Resistance]
Adesse Versions – Push It Forward [Heist]
Tr One – Afro Disco Beatdown [Apartment / forthcoming]
Donnacha Costello – Rubine Red [Minimise]
Donnacha Costello – Olive [Minimise]
TYL – Mind Sex [Apartment / forthcoming]

The post Mix: Mad Things in the Queue, Into the Clouds / Hessle Audio Radio appeared first on InfiniteStateMachine.

April 06 2017


Rude 66 – From Reason To Ritual

Ruud Lekx has been somewhat of a cult figure for quite some time now. For those deeply invested in what has come out of Holland in the last 20+ years, Rude 66 is a recognisable and notable name, but compared with your Legowelts and I-fs he still remains a bit of a fringe character. But then his music exists on the fringes too; elements of acid, electro, prog (rock/metal, not house) and wave combined with Shaunna Leks vocoder alternatively throw up grinding dirges (in a good way), brisker electro and driving synth heavy ‘floor killers. He’s not shy of a catchy hook within all this as well.

Its been the best part of a decade since the last album proper, Sadistic Tendencies, and with From Reason To Ritual, released on Bordello A Parigi we are still recognisably in the world of Rude 66; indeed one thats a more tightly honed machine compared with the one that delivered the sometimes scatty Sadistic Tendencies. It even comes with a concept based on the fall out after World War 1. (I think, I can take or leave this element of the LP)

The opening I Represent the Darkness could be just as easily titled This Represents Rude 66. Taking its time going anywhere, we’ve got those minor chord riffs, the vocoder, and some catchy distorted guitar floating around the background that manages to not sound out of place, a rarity in this world. It’s that knack of conflating influences into a unique sound that makes Rude 66 such an enjoyable listen. In the wrong hands tracks like Without a Reason and The Edge of Time could come of as misjudged and corny but one doesn’t have to worry about that in this world.

Paranoia, the album highlight, brings to mind previous cuts A Thousand Year Storm and Break The Silence, mutant electronic disco bangers that drive straight into the heart of the dancefloor. This rounds off the first half of the Lp in a very suitable manner before things take a more heads down approach with that creeping Rude acid finally making an appearance on The Triumph of Our Tired Eyes. He makes one final detour to peak time dancefloor with the chicago-influenced Burning Down the Fascination before finishing on The Ritual, dystopian, prog influenced mood piece that works as a subtle highlight.

Though I’ve noted my indifference to the concept behind the Lp, there is a definite consistency and flow to it all; giving us an album that actually works completely as a full listen. As before, highlighting Lekx’s influences positively, he sits comfortably in his own little existence where disparate, nearly contradictory influences are the norm. There may not be much here to surprise previous fans, but its consistency and quality control is undeniable and has brought me back for more, without needing to – or wanting to – pick and choose along the way.

The post Rude 66 – From Reason To Ritual appeared first on InfiniteStateMachine.

March 26 2017


March 22 2017


Darshan Jesrani – Mirror Test

https://www.youtube.com/watch?v=7UMyp6bf0B4 Video can’t be loaded: Darshan Jesrani – Mirror Test (https://www.youtube.com/watch?v=7UMyp6bf0B4)

Despite all his activity over the past few years, Darshan Jesrani is still best known for his Metro Area collaboration with Morgan Geist. This is far too bad, as he has been behind much great music, especially on the Startree label where he explores more song oriented disco under the aliases Funn City and Cylinder. His Siren project with Dennis Kane has also excelled in creating sweet balearic vibes.

If people want more of that familiar sound they associate with Darshan, his new record “Mirror Test/Replace Yourself” should quench that thirst. That distinct combination of funky italo, early garage, and deep house is executed to perfection on “Mirror Test”, feeling like a modern version of a dub or instrumental Easy Street Records track you’d hear in an old Shep Pettibone or Tony Humphries Kiss-FM mix from the early 80s. Despite all the copycats’ efforts over the past nearly two decades, none can match that simple but elegant formula that Darshan clearly knows so well. No note is wasted, each sound has just the right amount of musicality, and each part works in sync with each other to create an impressive whole. With the crowd reaction when I played this the other night at a loft party in Pittsburgh, I expect “Mirror Test” to be a big jam on tasteful dancefloors all over the world.

On the flipside “Replace Yourself” is another funky little number, leaning a bit more towards italo with its apeggiated synths. The percussion gives it an organic twist that recalls some of the later Metro Area records (that have been kinda slept on compared to the “classic” hits). This is another track that would be very difficult to pull off for most producers, and would probably be a highlight on any other record but due to its more restrained nature it is almost guaranteed to play second fiddle to the A side. Together, they make for a very nice two track record that can be used in a variety of situations.

The post Darshan Jesrani – Mirror Test appeared first on InfiniteStateMachine.

March 07 2017


Mix: Equanimity (The Ontological Pursuit Of The Shimmering Universal)

76 minute mix of timeless, deep, soulful music for balancing your humors.
RIP H.I.M. DJ Mr. Monkey MD

Susie Ibarra – Passing Clouds
Flying Lotus – Auntie’s Lock (Feat. The Life Force Trio)
Jean-Pierre Mas, Cesarius Alvim, Daniel-Humair – La Souris Chaude
Quartette Trés Bien – Boss Trés Bien
Timeline – Light My Fire
9dw – Bassa Marea
Gene Shaw – Goin Downtown
Ryo Fukui – Horizon
Nick Rosen – African Sun
Gino Marinacci – Perle
Piero Umiliani – Bossa At Seychelles
John Cameron – Liquid Sunshine
Takeshi Inomata & Sound Limited – [Monster]
Boris Gardiner – Negril
Michael Naura – Black Pigeon
Floating Points – For Marmish
Sir Edward – Peace, K.D.
Choir Of St. Jude’s Anglican Church (Ebute Metta, Nigeria) – Ore Elese To Ku

Direct download (right click, choose “Save As…”):
Equanimity MP3

The post Mix: Equanimity (The Ontological Pursuit Of The Shimmering Universal) appeared first on InfiniteStateMachine.

February 21 2017


January 17 2017


US West Coast House Biz

A long time friend of mine, brother in music, and former Pittsburgher Vincent Intrieri has been busy over the last year. After living in Hawaii for a while, he relocated to San Diego and is now setting up shop in southern California to bring some of that Midwest style of dance music to the area. I have known Vinnie for somewhere close to twenty years. His time in Pittsburgh included running an afterhours at Shadow Lounge with John Eperjesi, playing at all the real house music nights like Havana Thursdays and The All-Star Game, and getting banned from the club for socking a DJ for playing trance. This is a cat who knows his shit.

His new label Vicente Sounds is digital only for now, and kicked off with releases by Nigel One & Joel Oliver as well as Brian Nance. The next release is by Loftsoul & Miruga entitled California Deep, and to celebrate its January 27th release he is bringing Loftsoul aka Uchikawa Masahiko over to the US for some dates. You may know his name from having done jams with cats like Glenn Underground and Ricardo Miranda. Having caught him DJing at last year’s Excursions afterparty in Detroit over DEMF weekend, I can definitely say it will be worth it to go check him out. He knows how to play that real deepness. Vinnie and Uchikawa will both be playing in LA as well as San Diego. Check those links for more information and see how Japan and Pittsburgh come together at the midway point and smash California. Tell them Pipecock says “Hello”….

The post US West Coast House Biz appeared first on InfiniteStateMachine.

January 03 2017


December 22 2016


Top Jams of 2016 According to Pipecock

2016 has been an interesting one. And by interesting, I mean shitty. And that’s just on the music tip, not even touching on all the rest of the nonsense.

I needed long breaks from music, social media, and especially music journalism this year. The music journalism break will likely be permanent, judging by the little bits of the end of the year bullshitstorm that have made it thru my block button brigade. It was as hard to find music I was really feeling this year as in any year I can remember. The DJs, labels, and artists that seem to be ubiquitous have rarely been of such low quality as they were in 2016. I feel pretty disconnected from damn near everything to do with what used to be called house and techno music. Whatever. These jams were so good that finding them felt like encountering an oasis in the middle of the Sahara.

Click here for a YouTube playlist of the highlights….

Sound Signature was absolutely on fire this year. It’s really not even close for any other label. A whole new CD album by the great Hanna entitled Bless was the one that got the most plays, but the two CDs also released on DEMF weekend contained so much good music by so many good artists that it is absurd. Those tracks began to come out on wax near the end of the year highlighted by an extended mix of Warrior Code by Theo, Waajeed, and Duminie Duporres. A new Theo 12″ entitled “A Ghetto Proposal” was also a stand out of this year, while early in the year saw Byron the Aquarius’ 12″ on Sound Signature blow shit up (he also had two other great records for Wild Oats and Sampling As An Art). Rest in Power to Leron Carson whose “Lemonlime” was one of the wildest house jams to drop in 2016.

Dego’s “Don’t Stop (Let It Go)” was one of the two biggest jams for me this year, hearing it get played late at the steaming hot Sound Signature joint on DEMF Friday in Detroit was a party highlight for sure. This continued yet another great year for the sound formerly known as broken beat. The newest 12″ by Tatham, Mensah, Lord, & Ranks is my favorite thing by them so far, three tasty jazzy boogie jams on one record. Kaidi Tatham also dropped two future classics on his own, the jazzy deepness for 2000 Black on The Extrovert City (which also features some of my favorite artwork of 2016) and some funky joints for Freedom School DJ Series Vol 3.

Glenn Underground is always reliable for hot jams, but even in such an impressive catalog this year’s “Contact (Nova)” stands out. Sounding like a straight up modern take on Brass Construction, this has smashed literally every time I know of it being played out. Alongside that Dego, this is track of the year for me. You pretty much gotta let the whole thing play out too, the dancefloor doesnt tire of it!

The man Javonntte gets the consistency award this year. He released only two singles, but each contains five tracks and they are both all killer no filler. I played “Keep Bouncing” and “These Words” off of his NDATL record as well as “Jazzmatazz” and “This Melody” from his Sistrum EP the most, but you could almost look at them together as an album and it would have been one of the strongest house albums of the past few years.

Speaking of Sistrum, the head of the label Patrice Scott also released one of my favorites of this year. Both sides are amazing, with “The Detroit Upright” flexing the jazzy vibes and “Who We Are” being one of the prime examples of deep house’s continued quality when done properly.

I received Kyle Hall’s lovely album From Joy in the mail literally the day after I posted my 2015 round-up last December. While it was technically released that year, most people didn’t get it until this year and it has been in constant rotation all year long for me. His associate Jay Daniel also released his debut album Broken Knowz, and it shows a slightly more restrained producer who still likes the slightly off kilter rhythms but combines them with more jazzy instrumentation, “Paradise Valley” being the highlight.

Stefan Ringer is another younger cat whose music fits in quite well with that of Kyle Hall and Jay Daniel. He had three releases that I picked up this year, all of which were cool and different sounding. “Bossa Grv” was the most straightforward for dance sets, while the Stimulate EP was a bit weirder but still dancefloor. Maybe my favorite as a whole was the untitled LP for PPU under his REKchampa moniker, which adds some more boogie and downbeat vibes to the mix for an excellent listening album.

Kai Alcé had something of a quiet year compared to last year, though the Dangerfeel Newbies jam from 2015 continued to do much damage this year as well. The Deep Detroit party over DEMF weekend was a highlight as usual, and the 12″ from it was of course hot as fuck. There wasn’t a huge ton of new records in Detroit over festival weekend but other highlights came from Timeline on the new label 4evr 4wrd which is a bit more tracky at the start before blossoming into a live jam worthy of the band’s status, and of course another amazing white label by Scott Grooves, Parts Manager Pt 2. Sure to be a big record when it is widely available (just like last year), this one is hardly even mentioned online. The halftime A1 cut is the one for me but all tracks are sick.

Neroli was also a very reliable label this year. Aside from dropping that Dego that was one of the jams of the year, excellent releases by Kemetic Just and Alton Miller provided exactly the kind of soulful vocal jams that I was looking for. This is the kind of music that never really gets old, and despite not really ever being “cool” it is always what I am looking for.

DJ Aakmael is one of the most distinctive sounding house artists, and when he is in top form nobody else sounds like him. His Ballast EP for People of Earth is definitely top form, with all three cuts being potential highlights in any set but “Izza” with its mutated vocal sound is my pick. People of Earth also dropped a nice 10″ by Reggie Dokes, whose return to making house music and the return of his label Psychostasia were very much welcomed.

A new Pittsburgh artist whose unreleased tracks I have been beating in sets all over the US for the past two years dropped his first wax release this year. My man C Scott’s Pittsburgh Diaries EP is disco sample heaven. If you love this, there is so much more where it came from. He has heat for days!!!

Jeff Mills released a record that is less techno and more jazz-funk, the Kobe Session EP. Featuring keys by Gerald Mitchell, bass by Jino, synths by Yumiko Ohno, and the man Jeff Mills on 909, this is just beautiful electronic music played out in two extended live jams.

Jay Simon’s aptly titled Must Have Records only had one record this year, but it is an essential like the previous releases. This time a double pack by Teflon Dons, featuring incredibly difficult to find rereleased jams on one record and older material from the same time period that has never seen release on the second disc. This is the kind of garage music that is still sought after due to the quality of the music, including Gregory Porter’s earliest appearance on the lead cut.

One of my favorite edit records of the year was this joint (click here for samples since it isn’t on YouTube) by Starmachine on Galaxy Sound Company. A nice mix of styles, but highlighted by the jack of a famous Wu Tang sample source that nobody is ever expecting when you drop it. Zero hype here, just quality dancefloor bangers.

DJ Jnett is an old school Australian deep house DJ, and her first release Wildlife is one of the most fun house records from 2016. Touching on classic vibes but with a modern twist (partially thanks to Maurice Fulton’s assistance on the lead cut!), both “Reflection” and “Swangzipani” are certified dancefloor killers while “Bubbles Away” and “Judge Not” are more abstract jams that are also very nice and funky. A very promising debut!

Sheefy Mcfly also came through in 2016 with a very strong debut record, the Edward Elecktro EP on Mahogani. Sheefy is known in Detroit for his hip-hop, but he sounds very well adjusted to dance music on this EP full of booty influenced house music. My favorite cut is “C U Again”, but “Got Yo $” gives it a strong run for its money.

Nomadico dropped the second release on his Yaxteq label, and it contains my favorite track of his so far, “Gentefication”, the lead cut. This jam is the perfect combination of melodic techno and house, while the rest of the EP goes a little ruffer with the techno funk. Nasty stuff.

A new record by Kevin Reynolds is always gonna be good. This time he is on the great Yoruba Records run by Osunlade, and as you might guess the deep organic end of Kevin’s style is on display. The title cut of the EP “Fembehyahget” with its vocals and slick percussion is my favorite, but the whole EP is a nice different move for one of my favorite producers.

And last but certainly not least, the man Big Strick came correct with what was quietly one of the nicest house EPs in his catalog, The Gathering EP. All four jams touch on those nice pumping drums and bassline with beautiful Rhodes chords on top, but “Twisted Faith” is my joint.

Damn, that was some good music.

I took part in releasing one record this year, my collaboration with Noleian Reusse that we call Negative Hallucination had its first release on the illustrious Golf Channel Recordings. With support from many of my favorite techno DJs, this was also surely a musical highlight for me this year. I hope you enjoy it and the rest of this list.

If you want to hear all this music and more, have me come DJ in your city. Hit me up on Twitter.

See u on the dancefloor in 2017……

The post Top Jams of 2016 According to Pipecock appeared first on InfiniteStateMachine.

December 07 2016


C Powers – Fitness Check

The man who goes by C Powers first came to my attention a few years back thanks to a nice grip of records I received from CGI Records’ owner Matt Weiner. Of the many highlights of the CGI catalog, one that stood out immediately was the C Powers EP entitled Up Neck, especially the track “Phoenix”.

Ever since, I have been checking his new jams and I have not been disappointed. We are in an era where seemingly every producer pledges allegiance to the sounds of American house music, but rarely do any of them capture the feeling of that music despite their attempts to make tracks that use all the typical sounds of the big three cities’ music. C Powers stands out by ensuring that funky rhythms are the first thing you notice when you hear his tracks. The vibe is upbeat, and the beats swing in a way that works on the hips first and foremost.

His newest EP, Fitness Check for Niche N Bump Records, continues down this same path, but with a bit of a twist. There are five total tracks but two of them are stripped down DJ tool versions of other cuts also on the EP. The idea lends the whole EP a kind of cut and paste vibe which feels very appropriate for these minimal jams. The tracks themselves sit somewhere in the realm of Nu Groove instrumentals, Clubhouse 12″s, and older Omar-S jams, which is clearly right up my alley. My personal favorite is “Fresco” with the vocal chops, though the Beatappella version of it is also killer and quite musical despite the very few elements at work. The Beats version of “Wysh Key” leads off the EP and that actually works well because it is stronger for the dancefloor in this form, but the regular version is also fun. Finally “Ask Less Kicks Beats” throws some grimy breaks into the mix along with what sounds like record scratches for a really fun DJ tool jam. All in all, a refreshingly funky take on classic house music.

The post C Powers – Fitness Check appeared first on InfiniteStateMachine.

December 02 2016


Detroit Music 98-04


2016 has been a really strange year. Having taken some time off of social media and away from going out as well as DJing, it has given me a bit of a different perspective on things. Watching the hype machine push all these different subsubgenres that don’t mean shit made by people who have no real community has been obnoxious to say the least. The reissue fad keeps cruising along at peak volume as well, conveniently allowing you access to 80s private press boogie, 90s NYC house, or whatever other sound you feel the need to buy into to stay relevant. All of this is very tiring to me.

I have been thinking about what it is that makes music special to me, and I realized that my expectations were basically set by the music that originally got me into this “scene” for lack of a better word. In this regard I don’t believe I am different from anybody else. However, the driving force for me was a city rather than a subgenre, and an approach rather than a sound. And it is one that has not ever been considered in any real way to be a cohesive whole, not at the time and not in retrospect. Since I’ve been being lazy about posting here, it seemed like a good time to lay down some thoughts.

https://www.youtube.com/watch?v=wUYEwNGBfU4 Video can’t be loaded: Theo Parrish – Dusty Cabinets (https://www.youtube.com/watch?v=wUYEwNGBfU4)

The interconnection between artists, labels, genres, and music at this time was complete. You had crossovers at every tempo from 90 to 160 and more. Most importantly, it was all rooted in the history of music in general, and specifically the culture of music in Detroit itself, but with a firm look towards the future. In short, liking all of this music gave me an education in so much music that I am still exploring all the tributaries and offshoots of this river. Detroit music at this time was about soul. Funk. Jazz. Electronics. And most importantly, mixing these ideas as freely as possible. There were a number of related artists from all over the world that were involved as well.

https://www.youtube.com/watch?v=MzBy4J2miP8 Video can’t be loaded: Rick Wade – Thought Process [Moods & Grooves, 1999] (https://www.youtube.com/watch?v=MzBy4J2miP8)

This is by no means meant to be exhaustive. I’m sure I will think of more artists that need to be mentioned.

This was a time period for the emergence of Detroit house as its own style. The 3 Chairs were all establishing themselves as something special, with their work together and separately. Moodymann‘s labels KDJ and Mahogani dropped records by current stars like Kai Alcé, Andrés, and Amp Fiddler, as well as slept on cuts by Paul Randolph, Pirahnahead, and Alton Miller, along with his own jams of course. Rick Wilhite dropped records on KDJ as well as running his own shop Vibes New and Used Music that was something of a meeting point for Detroit House. It’s where I first purchased white labels by Oliverwho Factory and Omar-S in this time period, long before they had international name recognition. Theo Parrish may not have actually lived in Detroit through this whole era, but his presence was felt in his productions as well as his label Sound Signature which reached outside Detroit to cats like Leron Carson and Hanna, who appeared on the Rotating Assembly project along with a ridiculous list of additional musicians. Marcellus Pittman had the first Unirhythm white label in 2004, though it didn’t see release until later, as well as work with Theo and 3 Chairs. Reggie Dokes was developing his sound on his early Psychostasia records, bringing along artists like Scott Ferguson (whose label Ferrispark was also essential), Vincent Halliburton, Juju & Jordash, and Jerry the Cat. Mike Huckaby (whose time behind the counter at Record Time was MASSIVE) and Rick Wade were releasing nothing but classics especially on Rick’s label Harmonie Park and Record Time label M3. DJ Minx and DJ Genesis were both releasing deep soulful music on a variety of labels including some classics for Tony Ollivierra’s Dynamite Soul label and Minx’s Women on Wax. The Beatdown trio of Mike Clark, Delano Smith, and Norm Talley ran a sick Sunday nite weekly at Agave as well as compiling a classic compilation, and releasing solo records. Eddie Fowlkes was dropping all kinds of underground sounds on his City Boy label. Mike Grant‘s Moods and Grooves label was an essential outlet for Detroit and Chicago deepness, and Brett Dancer‘s Track Mode label was a close ally to many Detroit artists and the sound of house music in general. Todd Osborn was putting out his first tracks under the Osborne alias, while cats like John Arnold and John Beltran were adding broken beats to the mix.

https://www.youtube.com/watch?v=j9GU2mv0j9A Video can’t be loaded: Underground Resistance – Timeline (https://www.youtube.com/watch?v=j9GU2mv0j9A)

Underground Resistance is always important when you think about Detroit music, but especially during this time period. Aside from obvious high points like releasing the huge anthem “Knights of the Jaguar” by Aztec Mystic, their Submerge studios and distribution were behind a totally ridiculous amount of amazing music. From the great Mr. De and his label Electrofunk dropping soulful jazzy electro by himself and B. Calloway, to the hip-hop label Hipnotech dropping gems by cats like DJ Dez (aka Andrés). So many UR related artists were around doing their thing: DJ Dex, Santiago Salazar, DJ Skurge, etc. The Timeline live band was killing it as well. UR releases like “Transition”, “Hard Life”, “Birth of 3000”, “Timeline”, and “Windchime” have proven to be timeless techno and house tracks. UR related group Drexciya dropped an insane amount of projects under that name as well as solo work by Gerald Donald and especially the late James Stinson as The Other People Place that are all sought after classics now.

https://www.youtube.com/watch?v=ShFHNBocJgw Video can’t be loaded: Recloose – Get there tonight (https://www.youtube.com/watch?v=ShFHNBocJgw)

The original Detroit labels were still largely killing it. This was the last huge moment for Transmat who looked mostly outside of the city towards artists like Aril Brikha for his classic album Deepartue In Time, though the CD release Illuminations by Double Helix in 2004 was a prime example of great Detroit music. Transmat label man Kevin Reynolds was getting his music out there, and former label guy Neil Ollivierra was dropping ambient classics as Detroit Escalator Co. Planet E was absolutely ridiculous in these years, unleashing classics by Recloose, Alton Miller, Niko Marks, Tony Ollivierra as Ibex, Innerzone Orchestra (including remixes by KDJ and J Dilla), Common Factor, Jason Hogans, Mike Clark as Agent X, Detroit Experiment (which featured musicians such as Marcus Belgrave, Athletic Mic League, Karriem Riggins, and Amp Fiddler), as well as label head Carl Craig himself. They also gave American releases to classics by Newworldaquarium and 2000 Black‘s Good Good compilation. Metroplex was releasing techno by Aaron Carl, Gerald Mitchell (also a UR operative involved in many classics for that label), and more. KMS was dropping jams by Gary Martin, Heath Brunner, Kenny Larkin, D. Wynn, and more.

https://www.youtube.com/watch?v=AoEeSNFnf3g Video can’t be loaded: Anthony Shakir – Simpatico (https://www.youtube.com/watch?v=AoEeSNFnf3g)

Second wave Detroit techno artists were also on fire at this time. Anthony Shake Shakir‘s output as well as his label Frictional was all essential for techno, house, and electro lovers. Dan Bell may have been relatively silent on the production front, but his 7th City label and distribution were lynchpins for great music from Claude Young, Shake, and labels like Harmonie Park, Elevate, and more on the house tip. Sherard Ingram took things downtempo for the first Urban Tribe LP The Collapse of Modern Culture for Mo’ Wax, while a timely reissue of “Covert Action” was well received on Planet E. Claude Young had a string of releases for Djax and also did a megamix of Jeff Mills‘ productions for Axis. Mills himself kept up his hectic release schedule with albums like At First Sight and Time Machine. Robert Hood kept it diverse with many singles like “Hoodlum” and classic albums like Nighttime World Vol 2 and Wire To Wire. DeepChord were establishing themselves as a force in minimal and dub techno throughout these years.

Jit music was alive and well, propelled especially by two camps. One was the aforementioned Electrofunk Records which was also releasing gems by DJ Assault, while the other camp was the Twilight 76 camp helmed by Brian Gillespie, DJ Dick, and DJ Godfather. Possibly the biggest classic from Detroit in this time came from them, Detroit Grand Pubahs“Sandwiches” which still brings smiles to the dancefloor along with the bootyshaking. Twilight 76 and its related labels Databass, DET Only, Throw, and more were responsible for an insane amount of music with releases by artists like DJ Deeon, Starski & Clutch (aka Gillespie and Todd Osborne), DJ Nasty, Waxmaster, DJ Slugo, DJ Assault, as well as soon to be footwork innovators DJ Clent and Spinn & Rashad. In fact, Detroit and Chicago were tied closely together with this sound being common in the D when it had fallen out of style in most places outside of Chicago. DJs like DJ Surgeon and DJ Assault were known for mixing old school electro, booty records, Miami bass, old school jungle, and techno and house records like “Phylyps Trak II”, “Groove La Chord”, and “Timeline” sped up to 45 RPM.

Detroit’s love of soul music and hip-hop was also in sharp focus. The legendary J Dilla dropped classics under his own name with Welcome 2 Detroit as well as with Slum Village. Dwele‘s demo was huge on the underground and led to his signing in the early 00’s, but his first appearance came on Recloose’s “I Can’t Take It” single (which was also remixed with new vocals by Theo Parrish as “I Can Take It”). Slum Village DJ and associate Waajeed has his Bling47 Recordings for instrumentals by himself and Dilla, and his project Platinum Pied Pipers also released its first material in 2003. It was Amp Fiddler who taught a young Dilla how to use an MPC, and he was perhaps the most connected single artist in the city at this time, working with Planet E, KDJ, John Arnold, DJ Genesis, 3 Chairs, and more, while also putting out his classic Waltz of A Ghetto Fly LP.

https://www.youtube.com/watch?v=F4ZMwuEffjs Video can’t be loaded: Amp Fiddler – Superficial (https://www.youtube.com/watch?v=F4ZMwuEffjs)

So yeah, with all of this happening it was a magical experience to set foot in a city with such fertile creative grounds. In what was an amazing display, DEMF 03 and 04 were forced to concentrate on performances by local Detroit artists and their close friends from outside the city and the results were off the chain. Days of nothing but innovative, soulful, experimental music with so many artists who were connected working together.

https://www.youtube.com/watch?v=x1Kj_F_5094 Video can’t be loaded: The Detroit Escalator Co. – Point Of Entry (https://www.youtube.com/watch?v=x1Kj_F_5094)

Many of these artists are still prominent today, and I play plenty of the music mentioned here to this day. In fact, if I were to add up all the records I own by these artists and labels, it would be a huge portion of my record collection. It would be impossible to list each release, but check those years in each artist and label and you will not be disappointed. Massive props to all these cats and anybody I might have forgotten or overlooked!

The post Detroit Music 98-04 appeared first on InfiniteStateMachine.

November 20 2016


Podcast November 2016

October 10 2016


October 06 2016


Where You Been (records round up)


Moving swiftly on from 23 year old Dinosaur Jr references, it has been quite some time since I’ve talked about new music on here,  so I figured it was about time to throw together  what will most likely be a fairly scattershot post on some select releases that have appeared over the last few months (and a bit earlier).

I may as well start with some A+ material by the way of Glenn Underground’s future-classic “Contact (Nova)” which slipped out at the beginning of the summer on deepArtsounds. Though GU is, understandably, associated predominantly with 90s Chicago house he has maintained a fairly relentless release schedule to this day, moving from his sample heavy sound to incorporating his own playing (drawing from the same influences) and it all culminates in the freewheeling funk of “Contact (Nova)”. It’s a stirring 9 minutes of house music, unrelenting in its groove,  while Undergound’s flourishing keys never veer off into over done noodle territory. I’d also advise you not to dismiss the Dub on the b-side which strips it back but is equally as effective in its own regard.

Uzuri announced just yesterday that Underground will feature – in remix mode – on their next 12″ which leads us into a mention of the labels last release by Italian producer Giorgio Luceri – “Space Fire Truth” that finally dropped a few weeks back. This is a wonderful collection of jazz-inflected deep house that flits between dancefloor gear (“Universal Language”) and more reflective, cosmic material like “Along Came Ra”, those Sun Ra references obvious throughout not just in the song titles. It’s one of my favourite 12″s from a label that is starting to mine a slightly more abstract path of late, progressing in an ever increasingly interesting manner.

Keeping up with the jazz references, Underground Resistance have been embracing their iconic high-tech jazz sound of late while also continuing their stead-faced approach to “unique” distribution by releasing-but-not-quite-yet-releasing  another new Timeline 12″, this time on a new sub-label 4evr 4wd, titled “Forever Forward”. Fans of the brilliant The “Conscious Dream” 12″ from 2014 should dig this one too, even if both cuts are a little bit more minimal than previous. I’m still not sure when its getting a full release, but I was lucky to get the hook up from Worlds Laziest Blogger Pipecock when he visited Detroit earlier in the year, with some copies knocking around Submerge at the time.

Tom also hooked me up with the latest Scott Grooves “Parts Manager” release (this part 2, and possibly the last), more proof that Grooves is without a shadow of a doubt one of the most under-rated house producers out there at the moment. Even though he has been around for decades, such is his low-key approach to releasing his music that it often feels like he is too easily forgotten about. This man is a master of his art and you should head over to his bandcamp and grab a white label Part Manager Pt2 ASAP. Like the Timeline 12″ I’m unsure when this is becoming more widely available, but for now, there still seems to be some copies available from the man himself.

Sure while I’m here (and he’s not) Pipeys collaboration with Noleian Reusse as Negative Hallucination that Golf Channel dropped over the summer is some excellent, freaked out techno bizness. Nearly worth it for the artwork alone.

Continuing on with my loose theme of House Music For Those Not Afraid of A Bit of Noodles, comes Irish young fellars the Wah Wah Wino Boys. I’m gonna bypass trying to round-up their countless pseudonyms that have littered various releases over the last 18months or so and go straight to part 3 of their self-released triptych of releases from earlier in the year. The A-side, “Chartered”, is looking like a 2016 favourite for me,sounding not unlike something Theo Parrish could get down with. The dubby textures and restrained inflections slowly reveal a stunning piece of house-not-house music.

That track shows that there is still life in dub house / techno music, too much of which always makes one want to paraphrase South Park – Basic Channel already did it. And so…to a new Maurizio record. Well, not quite, but Von Oswald returned to his Borderland collaboration with Juan Atkins this year with a new album and single. I’m gonna give a shout out to the 12″ “Riod” here – This isn’t going to change any game any time soon but it’s a wonderful reminder of the genius of both of these artists. Classic sounding in the best possible way, very few can get close to utilising these tropes so well.

One of those who sometimes has is Texas’ most enigmatic techno producer, Gerard Hanson. We’ve been FUCKING FLOODED with Hanson material this year, by which I mean there’s been THREE releases by him, as both Convextion and E.R.P. His latter electro guise has not quite held my attention over the last few releases compared with back in the days of “Vox Automaton”, with the sound being a little bit played out by now. But I still think the “Ancient Light” 12″ on Solar One Music is worth purchasing for the uber-rush of The Exaltics remix of the title track. You still get some solid Hanson electro along with it, which ain’t so bad a deal really.

The Convextion ouput is more successful, first off taking an ambient route on the Untitled Acido release, the A-side of which has some lovely krautrock influences floating around its inner-space. And, unless you smashed a rock over your head and then left said rock sat upon your cranium long after regaining consciousness, you will be aware that Hanson also released the first Convextion long player in 10 years, 2845, through A.rt.less and it is as good as everyone says it is.

Because the last paragraph has the word ambient in it, I’m going to move on to the new self-titled The Smoke Clears LP, the downtempo-ish, ambient-ish alias-ish of John Daly-ish. The previous LP, “Listen”, on Further Records was a highlight of 2013 for myself and this follow up on an Irish label I don’t mention enough, All City, sees this project become more fully realised, and it’s probably my favourite thing Daly has done to date. Like many of the best things, its deceptively simple in its execution. He takes 90s ambient influences and lays them over drums that I like to describe as sounding like techno pressed at 45 and played at 33. There’s an amazing feeling of space in this music, with the wrong-speed drums tightened up to give a crisp edge, delivering a warm, autumnal feel that I can’t get enough of. It’s a minor masterpiece.

One thing I always have a lot of respect for is labels that I’m never really sure what I’m going to get from them. Like, when was the last time you saw an Ostgut Ton record and thought “jeez I wonder what they’ve got in store for me this time?”. I actually picked up the latest Terrence Fixmer release on it for a listen recently thinking he might offer something different, but instead we got Fixmer-as-Ostgut producer instead. ZZzzZzzz. On the other hand one has labels such as Optimo Trax and Uncanny Valley. I certainly do not like everything these labels release but I will give every new one a chance, and when they hit the mark they do so in sterling fashion.

The pick of the bunch in recent months from Optimo have been the Underspreche and Sparky 12″‘s. Which suitably sound absolutely nothing like each other. The Underspreche “Subterennus” release is some sort of mishmash of deep techno, ethnic sampling, trance and broken beats. I’ve seen “Jefe” cause some freaky contortions on a low-roofed sweatbox and “Mikea” get some hands in the air at an open-air rave setting.

On the other hand you’ve got “Things Fall Apart” by Sparky, which is a jaunty selection of electro-pop / synth and sorta Carl Craig / 90s house / techno inspired get-downs. I really appreciate the lack of fucks given by the Optimo boys by just going out on a whim with their release schedule on this imprint.

For anyone who has listened to my last couple of mixes, Chinaski might be a familiar name. I’ve featured 2 of the 5 cuts from his “Rivers Edge” 12″ on Uncanny Valley, which varies from the John Carpenter inspired “Lifetime” and “Disaster” (which adds a nice whiff of trance to proceedings) to the sorta boogie-tinged Never “Look Back”. He also did the bizness on the “The Video Dead” released on Live At The Robert Johnson imprint back in July. An artist worth keeping yours eyes on in my opinion.

Finally to a label I tend to ignore because most of its output isn’t particularly good, Running Back. Sure, its had its moments over the years, though most of these have had something to do with Maurice Fulton, but I’ve never really got the hype in general. And, again, Fulton appears on one of the two releases I’m going to mention here. He has a remix on the debut 12″ “Wildlife” by newcomer Dj Jnett, and though I’ll openly admit that my knowledge on female Australian electronic producers is pretty fucking non-existent I’m gonna go out on a limb and say that there may possibly not be many as good as Jnett. The Fulton remix is actually the low-point of this eclectic, funky but weird release. The swing of “Swangzipani” is so freaky its enough to knock a hip out of place while alternately “Judge Not” supplies a stunning widescreen palette of beats and melodies for you to sit back and rest those hips to. “Bubbles Away” is a much weirder, mid tempo grinder but I’m pretty down with it too.

I’m gonna finish this post off with one of the only featured records to be in over 100 collections on Discogs, Konstantin Sibold’s TRANCE banger “Mutter”, which also came out on Running Back. It’s the sort of record one can imagine getting bored of quickly, but that somehow hasn’t happened yet. I played a fair amount of gigs over the past few months and my own personal highlight of these was –  even though I only planned on playing it for a moment –  watching a crowd reaction to the beatless version of this getting increasingly BIGGER and TRANCIER at the Out to Lunch party here in Dublin back in August. Trancier isn’t even a word. Whatever.

The post Where You Been (records round up) appeared first on InfiniteStateMachine.

September 20 2016


Guest Mix: Section Five


Our latest guest mix comes from the west coast of Ireland, and with it comes a really enjoyable accompanying piece of writing discussing the mix and the music selected. The stream/download is at the bottom of the post…enjoy! 

For most of the year dancing as we do it is confined to sweaty basements where the scourge of natural sunlight strikes terror into your addled soul. Nothing wrong with that of course but from embryonic disco on Fire Island, Alfredo on the Amnesia terrace or trying to keep your face together in the Berghain garden, summertime has a special place. ’69, ’88 and others have taken on a mythical status while almost every music scene counts down to its own annual rituals and destinations. From “A Whiter Shade of Pale to “One Dance”, every generation has their sound of summer.

Music in particular takes on a quality in the fine weather. Records you’ve heard a hundred times can sound almost brand new while others click in ways they previously had not…For DJ’s it’s an opportunity to draw from the more neglected crates to build a different atmosphere. In fact, when the sun arrives, recording a new mix is usually the first thing most of us think of.

Commercially it is the most lucrative time of year and for many people, ‘Ibiza anthems’ style compilations were an early gateway drug where kids could get hold of two dozen massive chooons for a fraction of the price. While ambient producers and the likes of Café Del Mar had been putting their name on compilations since the mid nineties, Summer mixes in their own right only started to get codified during the late nineties ‘chill out’ boom before the whole thing ballooned into increasingly tired CDs, festivals and so on.

For this mix there was no particular plan other than it is made for the outdoors. Given the complete saturation of distraction we all contend with I usually don’t see the point in DJ’s putting stuff online that doesn’t say whatever it needs to in 45 minutes but this selection is intended to drift in and out of the background so everyone can have their own moment. Many records are given full breathing space and there is a preference for gentle blends over the frantic cutting you might expect on a more club orientated soundtrack but I hope the common thread is clear.

Records included are ones that caught my ear during many days spent on the edge of Galway bay and more than anything, that glorious view is the primary influence here. For that reason, one feature running throughout is the use soaring lead melodies in the shape organs, flutes and so on which sort of lift and drift off into the distance. There are some tasty basslines but this was mixed with bluetooth speakers in mind. Recorded in one take at the Bierhaus in Galway during the hottest day of the year.

The Bamboos – Voodoo Doll
Gil Scott-Heron – Three Miles Down
N’gaho Ta’quia – Going Down
Eddie Hooper – Tomorrow’s Sun
Bobbi Humphrey – Chicago Damn
Shina Williams – Agboju Logun
Barabra Moore – Hot Heels
Martin L. Dumas – Attitude, Believe And Determination

Kicking things off with a B-side cut put out on one of Kenny Dope’s imprints from about ten ago; The Bamboos, Australians specialising in that relentlessly recycled funk sound. All about the organ on this one. Next, straight into Gil Scott-Heron & Brian Jackson with a proletarian paean to health and safety. This LP is strong and worth buying for the cover alone. The flute, gospel and that gloopy almost moogish bassline weaving its way through background made it a staple of my sets this past while. Next up is N’gaho Ta’quia, who might be better known as Sauce81 on Eglo Records and whose album ‘In the pocket’ caught a bit of love last year. He’s behind a number of accomplished records along that tightrope of styles that Eglo, Jazzy Sport and fellow travellers walk so well. I struggled to pick out one track for this mix but the chirps won me over in the end. Great synth work, as is a characteristic of his tracks.

Next to Guyana and Eddie Hooper’s mighty ‘Tomorrow’s Sun’. A big record for Mancuso. The vocals are a slightly off key and the strings reminiscent of Detroit but the real star of show for me is that Roland C78 drum machine loyally ticking away which provides nice respite from its more ubiquitous grandchildren. Bobbi Humphrey was one of the first women to appear on Blue Note in her own right and ‘Blacks and Blues’ is one of my all time favourite LPs. Produced by the Mizell Brothers, Humphrey claims to have improvised every track and every track is wonderful. ‘Chicago Damn’ here is, I presume, playing on Nina Simone’s ‘Mississippi Goddam’ and reference to riots in wake of MLK’s assassination a few years earlier. The jazz flute sound on here is something I always associate with New York city and the cliché of Bronx kids running under busted fire hydrants but coupled with the organ it just soars away to far more exotic climes. Magical stuff.

Next to Logos and Shina Williams. ‘Agboju Logun’ translates as ‘Don’t Rely On Family Wealth’ and is such a fantastic club record. You are missing out if you haven’t heard that low end on a decent rig. An endless groove that thankfully has seen a few reissues and compilations appearances over the years. The horns are straight out of Studio One. Barbara Moore’s ‘Hot Heels’ sounds like an early seventies travel TV show theme and was reissued on Jazzman a while back. Next another big reissue from last year and one of the most life affirming slabs of pure ideology you are ever likely to dance to. Martin L. Dumas’ Attitude, Belief & Determination is essentially what would happen if you asked a bunch of The Apprentice contestants to write disco lyrics. All material obstacles are overcome by hard work and positive thinking. You could sort of imagine a room of billionaire CEOs awkwardly bopping around to this after their mindfulness session at Davos. I first came across this tune on Discogs when someone in the south east of Ireland was mysteriously selling a bunch of heinously expensive original disco presses. Fortunately it got a re-release proving dreams really can come true if you believe hard enough.

52nd Street – I cant let you go
Pieces of a dream – Warm weather
Leo’s Sunshipp – madam Butterfly
Human Cargo – Cary Us Beyond
Needs – Forever You
Domingo Cura – Canta tu cancion
Anthony Hobson – Savanagh Gold
Wally Lindo – Midnight

I have deep affection for jazz funk and so should you. 52nd Street itself was the core of the big apple but in this case was the adopted name of a Manchester band who churned out a string of quality tunes throughout the 80s. Initially signed to Factory they later moved on to 10 Records and included the recently departed Diane Charlemagne on vocals. The dub version of ‘I cant let you go’ combines the best of a number of strains that existed around that mid eighties period and could well a have been a Levan remix.. Which leads us to Warm Weather by Pieces of a Dream, a garage classic in its own right. An obvious candidate for a summer mix (at least I didn’t include Roy Ayers) but a sublime tune from a sublime album. The theremin work on other tracks from Leo Sunshipp 1978 LP suited this mix better but the blend dictated the philly groove of ‘madame butterfly‘ made the final cut.

Human Cargo?—?Carry Us Beyond, proof that Discogs remains the last corner of the internet with a decent comment section.

Believed to be played by Aswad, this tune was released on New Age Movements 12″ in 1980. Shaka had been playing it exclusively on dubplate for a year or so before it was released, and it’s said he first played his dubplate cuts when he travelled to North London to play Fatman and mashed up the dance with this tune.

An an absolute juggernaut of a stepper. Interlocking hooks, perfect effects and not one element out of place. A real high point in British dub that pounds along at 120bpm leaving room to attempt blends with house, which I have done here with Need’s ‘Forever You’. The chords and bass combo here always struck me as a Balearic cousin of Planetary Assault Systems – ‘Booster’. A short interlude of waves here, yes, waves, recorded one day as the Atlantic rolled in on Galway bay before we move to Argentina and a bit of bossa from Domingo Cura. Flute, rhodes organ and big double bass. Plucked from his 1972 eponymous LP which is a real treasure.

Next is a track that I’ve been playing for about three years and each night without fail have someone run to the booth for an ID. ‘Savannah Gold’ is the best track off a 1983 LP called ‘Millennium’ by Anthony Hobson. I don’t know much about them other much of the brothers’ work suggests they ware making corporate/soundtrack jingles in an expensive studio. Most of the tracks on this LP are in similar vein to G.A.N.G ‘Incantations’ or Paul Hardcastle without ageing nearly as well. This on the other hand is totally special and the foundation tune of this mix.

Andres Fox – Water
Letta Mbulu – Down By The River
Larry Heard – Precious Tear
Craig Cooper – Sweet Water
A Vision Of Panorama – Reef
Virna Lindt- Underwater Boy

This segues nicely into a dub version of Barry White’s ‘Midnight And You’. Willie Lindo, after his time with The Aggrovators, brings dub sensibility to a Love Unlimited classic. Next Andras Fox does a blissed out turn before Down By The River. I first came across Letta Mbulu on one of Sean Pennycook’s compilations and have included ‘normalizo’ in every other set since. People love it. She has gained greater stature recently on the first Beach Digging compilation and later LP reissue on Be With last year. Not every tune from Fingers ‘sceneries’ LP have aged well but I wanted to include something. Precious Tears sneaks in here by dint of tempo and that glassy underwater synth. Craig Cooper wraps a number of previous sounds on this mix into an unmistakably LA package. One of those tune people should post a ten hour loop on youtube. Next to Russia where A Vision of Panorama have been knocking out some supremely accomplished productions. Any number of VOP tunes could have ended up here but I stand by the achievement of anyone who makes digital pan pipes so good. Next Virna Lindt who sounds a lot like Roisin Murphy on this woozy record that sounds like Claudja Barry’s Love for the sake of love on holiday

Black Rascals – So In Love
Rebels- Sexcapade
Second Crucade – Choice Is Yours
Donnie – Cloud Nine (Quintin Harris mix)

To close things out we go back to Zanzibar. Garage is unrivalled in the sunshine and I wanted to include much more but two hours was long enough. To start, Blaze get busy on the M1 organ before the full version of So in Love melts in. Timeless. Sexcapade is a Cajmere joint that sounds like it should be going for inflated money on some trendy Nu Groove reissue but that laser-guided bassline for now remains a bargin in that deep well of second generation-Chicago gems. The Choice Is Yours is dustier than Theo Parrish’s floorboards and a classic Paul Hunter record. In terms of sampling its as peerless a house record ever to come out of Glasgow. This came out on one of Todd Terry’s labels about twenty years ago and hasn’t aged a day. Lastly, the remix that launched Quentin Harris’ career. I heard this one Sunday in Panorama Bar and the ten minutes pressed on wax is scarcely enough. One of the great New York records.

Listen to Sectionfive – Last of the summer wine bysectionfive on hearthis.at 

The post Guest Mix: Section Five appeared first on InfiniteStateMachine.

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