Happy ❤alentine’s day, dear Truants readers! To celebrate, we have gathered some of our favourite mixes and tracks to score your evening. To continue, please dial 7-7-3-TRUANTS. Listening to Mikky Ekko blurs the already jagged lines between indie, R&B, and pop, though his last single “Pull Me Down” may fall more into the latter there’s no reason it shouldn’t be on a few V-day playlists. Centered on an ill-advised relationship this is a slow jam for the trendy romantic (because there’s a good chance your partner might not know who this is weakening the moment). Backed by the hazy, nocturnal production of Clams Casino it’s just right for a joyride with the top down and the stars out. And like most good love songs it has plenty of replayability, plus it’s pretty sing-a-able. Maybe you can pretend you’re both “King and queen of the moonlight”, but to be real there’s probably a couple more qualified for job.
In our opinion no Valentine’s Day playlist or mixtape should be without some form of Inc. on it. The Los Angeles based brothers will soon be on their way to critical mass with their debut LP “No World” due out next week, but before then “The Place” sounds fitting. It’s nearly four minutes of slow jam bliss in the form of a modern R&B ballad. Obviously, they’re extremely talented musicians and even more importantly they know how to set a vibe. The song’s about the sacrifices made for a relationship only to consistently end up in the same place or situation (whether that’s a positive or negative is up to you). For those craving a song with a nineties connection, but a definite 2013 sound add this to the list.
Stream: Inc. – The Place (4AD)
Deadboy’s releases are few and far between, which makes it all too easy for him to fall off the radar. But he’s also grossly underrated as a DJ; his sets perfectly encapsulate the sound of urban London, giving him an edge over less intuitive selectors. Last Valentine’s there was a veritable feast of freebie downloads but nothing carried quite the charm or charisma of Deadboy’s mix for Wifey. Packed with babymakers, it cemented his place in our hearts as a DJ we could grind to and take home to meet our mama. The mix touches on 80s disco screamers, slick rnb jams and rougher grime and bassline joints. Opening on a soulful SWV acapella, things soon take a steamy turn via the intensely tender Wifey instrumental, Teedra Moses’ gorgeous R U 4 Real and Cassie’s searing Kiss Me. Hud Mo’s Jodeci refix makes an appearance, as well as almost obligatory tracks from Prince and Mariah. At a convenient fifty minutes, this is definitely one for the bedroom (or the commute, just make sure you don’t get caught drooling in public).
Download/Stream: Wifey LDN)
At the end of 2010, Canadian LuckyMe delegate Ango provided an unforgettably lush selection of R&B jams for one of the Scottish label’s earlier Twelve Days Of Christmas mixtape series, that simply cannot be missing from a passionate round-up post such as this one. Frankly, it’s hard to believe that over two years have passed since this tape surfaced, as its shimmer has failed to wear off despite being tested by the sands of time. A majority of the selected tracks here were defining tracks of 2010, and the pure richness of these sounds are glaring proof that excellent R&B has always been bubbling beneath the surface, regardless of the media’s odd resurgence of interest in the genre only post Miguel’s “Kaleidoscope Dream” last year. With a befitting title as “Make Out To This Mixtape“, there’s really not more that needs to be said about the blatantly romantic array of tunes that have been collected here. However, if you’re still hungry for some name-dropping to get the engines running, think of some creatively explicit Pleasure P, Jeremih in the mood for role-play, classically seductive Cici, emotional I-miss-the-old-you Drake and the unabridged six and a half minutes of The-Dream’s inimitable Fancy. Why yes Aubrey, with these forty-seven minutes of pleasure scoring your Valentine’s evening, this could most definitely be something.
Download/Stream: Ango – Make Out To This Mixtape (via LuckyMe)
Voilets are better but roses astound, nothin’ will make you wetter, than Phil Gerus’ sound. Ok so that’s pretty bad, we’re not poets, but it’s Valentines day, right? What’s Valentines day without a rubbish “roses are red…” poem? Similarly, what’s this consumerist day without cheesy love songs? Today though, we’re bringing less cheese, and more Phil Gerus to grind or cry your way through the day with. As you may remember we’ve already written about the wonderful Gerus, but his music is so filled to the brim with sexy vibes, it would be an absolute crime to miss him off this list. He made his debut on a major label this year, releasing his Based on Misunderstandings 05 EP on Sonar Kollekiv. The entire EP will find you feeling sensual but “Lust Escort” in particular, calling to 80’s producers like Jimmy Jam & Terry Lewis, is a slow jam that’ll encapsulate you in its rhythm and funk and leave you wondering what the hell happened.
Stream/Download: Phil Gerus – Lust Escort
On a day as special as Valentine’s day, you had better be listening to some special music. Here at Truants we all agree that there’s no music more special than that of the woman of Drake’s dreams aka baby girl aka Aaliyah (RIP.) Put together by DJ the Honorable Caps seven years after her death, the two-part mix spans her entire career in an almost chronological manner. Starting with early R. Kelly productions and touching on collaborations with Steve “Static Major” Garrett (RIP too), Timbo and Missy, the two 40 minute mixes are perfect to vibe out to on Valentine’s day whether you’re lonely and single or completely and totally in love. All the jams are there, from “I’m Down” to “Hot Like Fire” and “Try Again” and Caps might just even put you up on a track or two you didn’t know about. To round it all out, there are a few soundbites from Missy and Aaliyah that will make you miss her that much more. Be sure to check the video for “Miss You” as well.
Stream: Caps - Aaliyah U R Missed Pt. 1
Stream: The Fader
In only two releases (one for Boxcutter’s Kinnego Records and the other for heavyweight Hotflush) newcomer Beaumont pretty much cornered the market on cyberpunk romance. While his summer ’11 mixtape for Wild City may not scream “Valentine’s” there’s a thread of longing laced through it’s hazy tracklist that makes it ideal for the early hours of February 15th. Beginning with Rhythm & Sound and ending with his own tune “Adrift” might not seem like a stretch but between the two lies everything from The Cocteau Twins to DJ Screw. If you won’t be entertaining you can count off your regrets to Go West’s “Goodbye Girl” situated right in the middle. Seriously, he manages to make even Kraftwerk sound romantic. While not as hype as some of the above mixes (or even intended for V-Day) it might be perfect for that post-festivities spliff.
Stream/Download: Beaumont – Metropolis Mix for Wild City
A lot of us came up in the late 90s/early 00s, so this Noughties Love Mix from Rob Pursey and Superix of stellar collective Southern Hospitality is just the ticket. Anyone looking to indulge in some nostalgia or just enjoy an hour of great songs can get down to this – it’s got everything from break-ups to make-ups, tributes and diatribes. Personal favourites include Ne-Yo’s “Sexy Love” (sampled by Sicko Cell, trainspotters), Usher’s “Burn” and Tweet’s sultry “Smoking Cigarettes” – and of course it wouldn’t be a love mix without some Terius. But just sit back and enjoy as they put this love on you. Good work dudes.
Stream/Download: Southern Hospitality – The Noughties Love Mix (Valentine Special!) (via Southern Hospitality)
So maybe the spine-shaking reverberations of industrial techno aren’t the first thing that come to mind when you think about Valentine’s slow jams, but we’re utterly enamoured with Lower Order Ethics, so she’s getting a coveted place on the List of Love. This is the set she gifted to the lucky attendees of Berlin’s CTM festival a couple of weeks ago, and when we say her selection is exquisite, you better believe it. Lower Order Ethics is the alias of one Szilvia Lednitzky, a member of the Hungarian collective Technokunst and a facilitator of some elemental techno power, if the reports are to be believed. Her 7am Berghain set is nightmarish in content for the most part, layering goosebump-inducing Rachmaninov with the equally mystical echoes of Prurient. But the set is structured like a dream, moving between the insistent Middle Eastern drive of Omar Souleyman’s productions to the death drives of serious industrial with deliciously surreal flair. This isn’t eclecticism purely for its own sake; these are blends grounded in the bizarre realities of an age where everything’s on offer. They’re done with such class, however, that each transition sounds fully coherent. If you’ve ever felt spiritual in the chambers of a dirty warehouse this one will tug on your heartstrings. If you came looking for more a more traditional sexing soundtrack then we’ll let you in on a secret: nothing says romance like a bit of Throbbing Gristle.
Stream/Download: Lower Order Ethics – CTM Festival Berlin Set
Written by: Jonathon Alcindor, Sophie Kindreich, Sindhuja Shyam, Jess Melia, Tim Willis, Stephanie Neptune, Aidan Hanratty and Tabitha Thorlu-Bangura.
It’s not easy for an artist to shake the genre chains strung around him or her, especially when the genre in question was born directly out of his or her music. So far Toro y Moi has been able to distance himself from the chillwave tagline and construct what a majority of people would liken to pop music. Obviously, Bundick is not a one trick pony and in recent years his productions have mosied from chillwave to beats to house and loads of points in between. His labelmate Dog Bite could very well be in a similar position in a few years’ time, but for the moment he rests comfortably in the arms of lo-fi indie rock. Hot off the release of their new albums “Anything In Return” and “Velvet Changes” both artists have decided to treat us to a 7-inch of off album cuts.
Stream: Toro y Moi – Lyin (Pt. 1-4) (Carpark Records)
Simply put, Toro y Moi’s contribution to the record can be liken to a beat tape albeit a short one, clocking in at less than four and a half minutes. “Lyin (Pt. 1-4)” features, as expected, four musical snippets. In that amount of time he shows off the versatility of his production abilities touching on west coast styled funk and sampled based beats. Part one in particular is something we’d like to hear an extended version of – smooth Rhodes, slinky basslines, and Bundick’s voice in perfect line with the instrumental. On the flip, Dog Bite’s “Would Be” is more in line with his debut album material. It’s a healthy mix of sunburnt drums and legato strumming. It’s captivating and the type of music that makes sense when lying out with friends around dusk. With the pair touring together this showcases the contrast in their styles nicely and gives you a good idea of what to expect during their shows. At the same time there are clear links between the two, particularly in the final atheistic of the recordings.
Stream: Dog Bite – Would Be (Carpark Records)
Toro y Moi’s & Dog Bite’s split 7-inch is available now on Carpark Records.
Words by Jonathon Alcindor, 13 February 2013. Leave a comment
What a wonderful symbiosis jungle and juke are. Their similarities are well documented yet, whether tempo, bass pressure or sampling philosophy, are rarely as well executed as on this Om Unit-curated collection. The original proposal for the marriage of the two genres was supposedly formed independently but at around the same time by Machinedrum and Om himself (the two later crystallised their vision under the collaborative Dream Continuum moniker) and has since been gaining momentum within the globally-dispersed dance music scene. Most of its proponents appear in fine form on “Pseudogeddon” – both genres hold disorientating, ecstatic and floor-filling qualities which the compilation juggles deftly.
Moresounds kicks things off with a cold-as-hell footwork drop and a smattering of rolling beats, though it is Machinedrum who really gets the ball rolling with his remix of Future Sound of London. His breaks are beautifully intricate, riddled with syncopated spice, his bass ferocious, roaring at the listener, and all the while the track is imbued with MD’s signature driving momentum and energy. As you might expect from the veteran heavyweight, Om Unit’s track is a standout in a crowd of killers. Jungle’s probing bassline is juxtaposed expertly with flickering Teklife drum programming, while badman spinbacks and an ecstatic Bollywood vocal sample float over the top. Chrissy Murderbot’s soulful effort takes us into Summertime park-lazing territory – all glowing horns, vibrant strings, exuberant vocals and pounding bangs. Imagine if Theo Parrish dedicated his efforts to juke. It’s that lovely. Bustos Domecq follows up with a furious tribute to DJ Rashad’s classic “Drop Juke Out“ while EAN turns to the darkside with a flattening bass presence and horrifying ambient string build-ups. When all is said and done, a remarkable variety of approaches to the melding of these two genres is presented here, as well as proof that this union has moved well beyond a short-lived novelty. Indeed, so successful has the sound been that it’s currently being integrated back into the Teklife circle. And at the sweet, sweet price of free you really can’t say no.
Pseudogeddon is available now.
Stream: Pseudogeddon – Jungle Footwork Compilation
Words by Tobias Shine, 12 February 2013. Leave a comment
The democratization of the music industry should make it easier for talented artists to gain an audience, but if the last few years have shown us anything it’s that this was a blessing and a curse. There seems to be a constant flow of questionable and plain terrible music hitting the web daily, making it difficult for true talent to shine. This past summer Iron Galaxy’s “Attention Seeker” broke through the clutter and penetrated many of our social networks and for good reason – it’s emotive, danceable, and memorable. Within a couple of days it racked up a few thousand plays and was eventually picked up by Amsterdam’s Audio Culture. Fast-forward a few a months and Adam is preparing his follow-up record. We were anxious to find out more about him and offered him some time behind the decks to record Truancy Volume 64. Before that we had a chance to speak with Adam about his plans for this year and some of the relationships he’s made over the last six or so months. Without spoiling too much, there are quite a few influential people eager to give him a shot. For the next hour, expect to hear some Canada’s premiere talents in the world of house and techno boom from your monitors.
What have you been up to lately? “Around the New Year I finished up an EP for Born Electric. Other than that I’ve been working my day job and planning a studio move. We just got all the gear to the new place, finalized the layout (though we’re still waiting on a shelving company before that’s done) and now I have to complete the patchbay, order/make cables etc. Last week we started planning some dates in the EU, so it’s looking like I’ll be over there sometime in July.”
You have a pretty interesting day job as a music teacher, correct? Does that affect the way you write or keep you on your toes? “Yeah, music history and technology is one of the courses I teach. I get the Middle School kids to work with Ableton Live as part of that course. I’ve now made the switch over from Logic and that may have influenced my decision to do so. It’s easy to become complacent and teach the same thing to each group that you get. I always try and evolve some portion of the course. Now that I’m more comfortable actually teaching it’s easier to focus on new content and projects. The kids are always asking interesting questions that keep me on my toes or requires me to do some research.
I think my job is going to affect how I write music from this point on though because the new studio space is literally at the school where I work. We wanted to start a media lab, so they generously gave us some space and a bit of money. With video, photo and audio gear money doesn’t go far though, so I proposed bringing my setup to the school if I could have after hours access to it. That way the school didn’t have to buy a lot of the basics and I could get each kid on a real instrument. When they’re learning about using Impulse in Ableton we can go to the studio and fire up some old drum machines to see the origins of drum programming. I’m going to propose a course for the older students next year that’s more production based, maybe post production, foley work or music for film/video. They can collaborate with media classes, the drama department etc. With the new space it should be easier to get down to work. We had a good spot previously, but our friends lived there, so there were many distractions. When working there you would have to consider people’s work and sleep schedules. The neighbours were never a problem, but our friends lived and worked there.”
It’s safe to say your Audio Culture record acted as a diving board for you, what’s next? “For sure, I felt like “Attention Seeker” was well received. It helped put me in touch with a lot of musicians that I admire. I’m hoping people will be into the new stuff. I’ve finished an EP for Born Electric which is run by James Zabiela and his partner Mouj. That’ll be the 4th release on the label and should be out around April/May I’ve been told. About a month or so before that I’ll have a track on a vinyl compilation put together by “Room With A View”. I’ve just started putting together ideas for an EP on Audio Culture and almost have an EPs worth of tracks finished with my friend Dave. There’s a few other projects and collaborations on the go too, but everything’s in the early stages.” We’d imagine putting out a record on James Zabiela’s label is a pretty big deal for you. Did he approach you? “Yeah, I’m excited about the EP on Born Electric for sure. It’s four tracks, and there’s a bit of diversity on there. To be honest, James’ name was familiar, but I didn’t know much about him at first. He’s on another level, with a heavy touring schedule, playing a lot of big rooms. When I speak with him he has a genuine enthusiasm about the label, Born Electric artists, DJing, and the demos I send him. Last year I received a message from his roommate who said James was into my stuff. I think he just found me on SoundCloud. Just before the summer he got in touch to tell me his plans for the new label. James is a technical wizard on the CDJs, but more importantly he’s an all around nice guy who’s supporting a lot of the music I’m into. It seems like it will be a good crew to be involved with.”
Stream: Iron Galaxy – Attention Seeker (Audio Culture)
Canada, particularly Montréal and Toronto, has recently had a spotlight shown on it for its unique and what some would call uncharacteristically playful take on house and techno. How would you describe the scene there? “Whenever I’m asked this I feel a little unqualified to answer because I’m not super involved in Montreal’s music scene beyond what my friends are doing. There’s a lot of good crews putting on shows and after hours events, bringing great artists to the city. There was the Resident Advisor article about Toronto recently that seems to sum up what’s going on over there. There’s a lot of amazing artists who’ve come out of the two cities and are really busy touring and/or releasing records in Europe. It’s great to see people picking up on that. Martyn just released the Dovercourt EP that’s comprised solely of producers from Toronto. Every track on that is a bomb (I can’t believe I didn’t include any of them in the mix!). Label-wise, there’s a few people in Montreal doing interesting things. Turbo is obviously leading that charge, Jacques Greene started Vase recently, there’s Fur Trade, Infinite Machine, Parages Music. I’m sure I’m forgetting some. My friend Jurg just started a label called “Forbidden Planet”. The first release is a great D’Marc Cantu 12-inch that includes a DVS1 remix. It’ll be exciting to see what else they have forthcoming.”
What are the relationships like between other local artists? Is everyone supportive of each other? “DJs in Montreal like Lexis (musicismysanctuary.com) were some of the first people to play my music. He has a connection to Lefto, who supported the first record before it was out. I imagine that’s one of the ways it made it to people like Gilles Peterson. I had been friends with guys like Bordello and Addy from Footprintz before we even heard each other’s music. We’re all excited about what everyone’s up to individually and either have, or are about to, get together in the studio. It’s a small world, so I’ve slowly been meeting a lot of my favourite Canadian producers. Everyone seems very accessible, supportive and down to earth. Brian/Gingy is always willing to critique any demos I pass his way. Local DJs, producers and promoters are starting to invite me to play out with them, which is nice. I’ve DJed for years, but never got into promotion, or hustled for gigs.”
Are there any specific nights or venues you frequent? “Not really to be honest. I’ve sort of toned down going out. When I lived in London several years ago, I would never miss “Movement” Thursdays at Bar Rhumba. Here in Montreal, I’ll just hit up select shows, whenever somebody interesting is in town. When Thomas Von Party puts on an after hours party, you’ll usually find me there though.”
What were your formative years in music like? “I took piano lessons for a short time when I was super young. Around the age of 12 I got into playing guitar. I took lessons for a bit, but then just taught myself by learning songs and trying to solo over a few of my favourite albums. When I was in highschool I bought my first synth and started playing around with production. I think a lot of my early stuff was trying to emulate artists like Solvent and Skanfrom. Around the same time I tried producing Drum and Bass.”
Who were some of the artists you were looking up to (not necessarily electronic)? “Murderecords was a Canadian label I really loved when I was young. The first Local Rabbits record helped me learn the guitar. Thrush Hermit, Superfriendz, Eric’s Trip, Sebadoh and Sonic Youth were big for me at the time. The east coast of Canada was producing a lot of great indie rock stuff. Ian from Thrush Hermit is actually in that band Hiawatha with Egyptrixx. It’s interesting to see those worlds collide. At the same time I would have been into the obvious hip hop stuff like Public Enemy, Tribe, Mobb Deep, Black Sheep etc. I had my friends who were into metal and we would listen to Slayer, Sepaltura etc. The electronic stuff was the first time I really found something that nobody else in my world was picking up on. I started with Warp Records stuff and that led me to Suction Records, Morr Music, City Centre Offices etc. At the same time when I was listening to the “IDM” stuff, I bought turntables and started picking up some French House and DnB records. Soon my record collection was consumed with DnB. In the early 2000s Total Science, Digital, Spirit, Breakage, Alpha Omega, Sonar Circle and the whole Reinforced camp could do no wrong. Bad Company, Virus, Renegade Hardware, Marcus Intalex, Valve and so many more were on the top of their game for a period. I lost interest in most DnB produced after 2003. It’s great to see guys like Marcus and DBridge slowing things down and continuing to make great music.”
Take us into your studio, what’s the creative process like for you? Do you partake in any OCD-like rituals before getting down to business? “The creative process is going to change a bit, because now that we’ve moved I can set up the workflow differently. With our last setup I learned a lot about how I like to work, along with what frustrates me. I’m going to create a patchbay for all the CV and Gate controls now, so we can easily sequence a lot of the old monosynths with Ableton, or with an analog sequencer. Sometimes I come in with a tempo, a sample or a mild vision. Most of the time I just get in there and jam. Once I have a few things happening then I’ll record parts into the computer and edit it down into an arrangement. No rituals, but I tend to waste some time at the beginning, settling in, surfing the net.”
Is there anything you’d like to add to your studio or a skill you’d like to learn? “Ha, well, if money and space were no object there’s a lot I would love to add. I think my music is a product of really liking to work with hardware. I generally don’t buy the hardware to facilitate a particular style of music, but the gear definitely influences the end product. I may be enamoured by the sound or groove of a certain piece of equipment. I either like or hate the interface and that dictates whether it ends up in the studio. Something like the SH101 might not be overly versatile as far as its sound, but I love the sequencer, the fast envelopes and how quickly you can start making something with it. If anything, I need to scale back, but I’d love to have a Jupiter 4. There are wishlist synths like a Synthex, CS80 etc. which of course I would be amazing, but in a collectors market will never happen. I could see myself trying to find a deal on something like an MKS80. I just missed out on one that someone was selling for $1200. Did you see the reissued MS20 mini? The waiting list for that thing is going to be crazy. I think I’d like to pick up some more outboard effects and processors. I found an Ursa Major Space Station for next to nothing and it’s a really unique reverb/delay. I’m still learning many of the things that I already own. This summer I made the switch to Ableton from Logic. I need to put in some time with the SP1200. I just bought an Oberkorn analog sequencer, so I need to figure out everything that has to offer. It came with a modular power supply and a pitch quantiser module, so I’m sure one day I’ll get sucked into the world of modular synthesis.”
Is there a specific element or feeling you like to include or convey in your music? “I definitely know the feeling when I hear it, but I’m still figuring out how to get there. When I finish things i find myself sometimes second guessing the vibe. I like melody and things that are a bit sad or unnerving. I like a lot of things actually. It’s hard to not to go in a million directions. I suppose that’s why people have alternate aliases. With “Iron Galaxy” I want to find the line of having some range in my productions without seeming inconsistent.”
You’ve mentioned a side project with your friend Dave, how did that come about? “We both grew up in Thunder Bay, Ontario. When I started getting into electronic music, I didn’t know anybody else who DJed or produced, or who generally listened to the stuff. Some friends told me to see him and a guy named Justin perform as the Ninja Hawkz Sound System. They would quickly write a bunch of instrumentals the night before a show and Justin would freestyle the most hilarious lyrics over top. Dave became the guy I would ask advice from when I wanted to know about synths or samplers. We both ended up in Montreal and decided to pool our gear into a studio setup. We were going to call ourselves “Sex Life”, but are going to be “Iron Galaxy and…”. He needs to lock down a name. He may end up being “Sexlife”.” How would you describe the music you make together? “It’s still melodic, but has given us an excuse to create something a little more on the techno end of the spectrum. So far the arrangements are a bit varied, with an almost song structure. For the next few we’re trying to come up with an idea we can just jam on for 5 minutes. That Bruce Trail track on 3024 is a good example of what we’d like to strive for. A simple groove that has a solid melody, is a little tough or melancholy, but doesn’t get tired.”
When can we expect to hear this music? Do have a home for this music yet? “We’ve been really slow and Dave was busy with design stuff in the fall, so we’re going to try and get on a schedule when the studio is rebuilt. So far we’re on the 4th track with that project. Turbo has asked us to hold a few things so far, so when Thomas returns from India next month we’re going to sit down and figure something out. I think their release schedule is packed until the summer, so who knows when. I’m excited to get it out there though.”
Let’s say your house is on fire, what’s the one record you’d take with you? “Hmmm, that’s different from the desert island discs question. Do you grab the record worth the most on discogs? Hopefully my insurance would allow me to buy back a lot of my favourite records. Spinform’s “Superstjerna EP” and Board Of Canada’s “Music Has The Right…” are probably two of my most sentimental records. If I was near the DnB collection, maybe Q-Project “Slow Down/Spectrum City”, Total Science “Murder EP”, “Make Me Feel EP”, maybe Matrix and Fierce’s “Tightrope/Climate”. Nothing’s organized, so I probably would die of smoke inhalation before making a final decision.”
What’s the idea behind your Truancy Volume? “Although there’s a handful older classics in the mix, I wanted to play some newer stuff this time around. I included some recently released bits as well as some upcoming or unreleased tracks that a few producer friends were kind enough to send my way. There’s so much great new music out there these days, I didn’t even get a chance to touch the surface.”
And of course, what’s your drink of choice? “Whatever happened to Vanilla Coke? I know it exists somewhere in this world. Visiting the States is always a trip because there’s a lot of snacks and drinks that are either banned up in Canada because of the types of fats, sugars or additives they contain. Also, some things just aren’t marketed here. I just found a soda company called “Blue Sky” that makes a “Cherry Vanilla Creme” soda. That’s a pretty solid replacement.”
Tracklisting:Candido – Thousand Finger Man
Clark – Jak To Basics
Pitto – Richklap
Move D – Got 2 B
Severn Beach – Stitches (Forthcoming Audio Culture)
Locked Groove – Wear It Well (Forthcoming Hotflush)
Gingy & Bordello – All Day (Forthcoming Turbo Recordings)
Trikk – Prime Time (Forthcoming Hypercolour)
South London Ordnance – Revolver (Forthcoming Hotflush)
Leon Vynehall – Untitled017
I:Cube – Disco Cubism (Daft Punk Remix)
Brother G – Cold Pass
Unknown – Untitled (unreleased)
Bodhi – Deliquesce
Doc Daneeka – Babylon’s Burning
Tom Trago – Sky High feat. San Proper (Vocal Dub Mix)
Schatrax – The Almighty
Anthony Naples – Mad Disrespect
dBridge – True Romance (Pedestrian Edit) (unreleased)
Jack Dixon – E
D’Marc Cantu – Some Fantasies Are Good (Forthcoming Forbidden Planet)
Gingy & Bordello – Saturday Night Fervor (Forthcoming Turbo Recordings)
Nphonix – Tactix (Forthcoming Audio Culture)
Locked Groove – Hirondelle (unreleased)
Words by Jonathon Alcindor, 11 February 2013. Leave a comment
As one third of blog/label/collective Transmission Collective, Wolf Cub has been making waves as of late by working within the throwback style of house music that appears to be all the rage at the moment. As much as we’d like to disparage such a blatantly self-serving trend, artists like Wolf Cub, Bicep and Ejeca are the logical retort to the overwhelmingly aggressive brand of brostep and electro that has invaded the minds of North American teenagers in recent years. Formerly universal ideals like “establishing a groove”, or “funk” (outlandish, we know) have become secondhand to immediate satisfaction and tactless bombast. We don’t need to tell you this of course, but the idea that a whole generation has grown up with this as a touchstone for what dance music should sound like is depressing as hell. With the “Love High” EP, Wolf Cub puts himself firmly in the counter-current and while the Leeds-based producer might not introduce any brand new ideas, the fact that he’s meticulously improving upon tried and true sounds means that he’s playing an important role in the contemporary house music landscape.
The backbone of the “Love High” EP is quite simple: shuffling percussion, organ stabs, warm synth pads and diva vocals. However, the results are anything but ordinary. What differentiates Wolf Cub from the crowd of likeminded producers is his willingness to allow the funkiest elements of his music to drive the entirety of the mix. The kick drum is present, the vocals ring out and the euphoria-inducing organ plays, but the bassline is always the driving force. On “I’m Gone”, the bass tunnels its way through the other elements, but is always present and always prescient to the melodic direction the song takes. The bass in “What You Need” is more distinct, but almost sounds more reserved than the rest of the EP. The song is the bedroom anthem of the release, not through any lyrical declaration, but in its innate sensuality, pinpointed by the funky bassline. The EP’s closer “Kerouac” is the stomper of the release, eschewing the carefully constructed smoothness of the rest of the EP for a more overt stab at peak time madness. It’s difficult to predict exactly where Wolf Cub will take his sound on future releases, but “Love High” is an impressive outing for such an untested producer. While the endpoint of the throwback house trend appears to be near, Wolf Cub has the talent and attention to transcend the sound he’s eloquently put forth on “Love High”.
Stream: Wolf Cub – Love High (Transmission Collective)
Wolf Cub’s Love High EP is available now on Transmission Audio Recordings.
Words by Gabe Meier, 11 February 2013. Leave a comment