To celebrate this years Detroit Electronic Music festival – now rebranded as ‘Movement’ our friends over at EPM have posted a podcast from one of our favourite artists here at Timeline Music, none other than D-Knox!
Stream or download this tough, funk fuelled journey through the depths and heights of the phenomenon we call Techno!
The ever prolific Mr Voorn once again delivers a Funk fuelled journey through the entire spectrum of dance music, displaying a diverse range of talents and musical styles. It will be released on Subwax BCN’s sub label ‘Excursions’ this month. Each slice of pure groovy goodness here has that signature OV bite, this really sounds like nobody else on the scene. This LP will delight listeners on and off the dancefloor, with moments of pure serenity, bliss and hint of melancholia and deepness throughout. Enjoy, support and spread the word.
Atkins and Oswald between them have defined and redefined genres and genres within genres countless times. They are icons within their field who have never rested on their laurels, always pushing and innovating, inventing whilst creating some of the most beautiful, thought provoking and visionary music around. The fact that these two have come together here is a simple matter of destiny, the gravitational pull around these two heavyweights meant that they would eventually gravitate toward each other and the resulting collision, combination and production has left something rather special in this reviewers trembling hands.
Borderland is an LP that revels in its subtle progressions and inwardly bound grooves that worm their way to the core of the listener. Introspective, understated and warm are three overused adjectives that work well here but this collection of audio journeys needs something new to describe it… Images are invoked here of driving through chaotic cities on grey, rainy days as the transition to night takes place. The glare of orange street lights catching the steady torrents of rain against the steely blue-grey sky, commuters running in silence, the sense of being part of a bigger mechanism that forms the modern urban landscape. This is laid back, pared down Techno infused with the sounds and vibe of everyday life, the ‘Speculative Fiction’ of electronic music if you will.
The classic ‘Atkins Funk’ is firmly contrasted here with Oswald’s Dub ethics and sense of audio storytelling and evolution to create a distinctly new ‘whole’ from two very different parts. They both bring so much to the table with this release and the result is an audio journey through elements of; Dub, House, Techno, Electro and shimmering ambience and the indescribable genre defying result is a unique treat for any lover of serious minded music.
This release is forthcoming and links to preview and purchase will be posted as and when they become available.
‘If You’re Reading This’ is the title of a new 6 track E.P. by MGUN. Otherwise known as Manuel Gonzalez, MGUN (the Detroit based producer) has been making music for just three years, but is without doubt a name to watch especially if this E.P. is anything to go by.
The opening track ‘Hand Over Fifth’ begins with some very ‘wibbly wobbly’ keyboards and a drum machine. The track moves forward with more weird and wonky bleeps, but it is all held together by the constant rhythm and beat patterns. Then just before it ends you’re fooled into thinking it’s about to take off when it comes to a halt. Very minimal Techno and trippy stuff!
‘Proxy’ starts with a deep bass, matching beats and a deep heavy synthesizer. Extraordinarily spellbinding, this track keeps you rooted and then that low down and dirty 303 is thrown into the mix. This is dark acid at its filthiest, squelchy, but gritty. The final section is pared down somewhat, but suddenly the bass is brought back in ending this track on a dark note.
‘Funnel Vision’ commences with keyboards that could pass for someone running their finger around the rim of a glass and then the ringing changes in note. Some dark eerie sounds and percussion are then introduced. Again this track has the ability to completely hypnotise you. I love the way the layers become stripped back in places and more emphasis is given to the simple melodic synthesizer. Subtle underlying nuances are brought in and taken out from time to time, but the rhythm remains.
‘Jijijijiji $ijijijiji’ begins with keyboards that almost scream at you, a smattering of cowbell and some fairly simple beat layers. There is a fair amount of distortion on this track making the synths sound scuzzy in an old school way. The distortion increases with the aid of some echo and reverb. At certain points it sounds as if a keyboard button has become stuck. Surprisingly though, it all gels extremely well.
‘Tritan’ is easily the killer track of the six. Starting with a great kick drum and deep bass, a cymbal on the half beat and some wickedly dark, bouncy synthesizers add to the overall appeal of the track. Some great hi-hats, 808 handclap style beats and another beat layer that sounds like machine gun fire lend the track some funky breaks. Very deftly arranged this track beats the others hand down for me.
The final track ‘Bean Chirp’ is gorgeously deep and again distorted. There is an element of Moroder evident here, not to mention other early Detroit influences and even a nod to Brooklyn (I can hear a distinct similarity to Critical Rhythm). The rhythmic pattern on this track really hooks you and those wonderfully deep synthesizers take you on a journey to another dimension.
This was delightfully different in comparison to some of the paint by numbers Techno E.P.’s currently out there. Each track is commendable and each for their own reasons. If you’re looking for a change from the usual crop of Techno records then this E.P. is definitely for you.
This release is forthcoming and links to preview and purchase will be made available as and when we receive them.
The unstoppable force that we know as Robert Hood has decided to unleash a brand new Floorplan album upon us called ‘Paradise’ which is the perfect title for an album of this calibre. Not only is Robert Hood a master in minimal Techno, but in his own style he knows how to keep minimal funky. If you are unfamiliar with Robert’s Floorplan works then this album is a good place to start. It comprises 10 tracks in total and each one is an absolute killer!
The first track ‘Let’s Ride’ starts with a banging kick drum and bassline and subtle synth work. We’re then introduced to a simple hi-hat, before those unmistakable, almost militaristic beats are added as another layer. The vocal loop of a child’s voice with a slight delay, are truly inspired and the melodic keyboard adds another dimension to this otherwise pounding track.
‘Baby Baby’ is a personal favourite. It has just the right ingredients for a serious floor filler. The wicked vocal loop that doesn’t let up right from the start, the funkiest beats, great keyboard stabs that focus on just one note, handclap beats, hi-hats (well of course!), a dash of percussion and a fantastic brass section sample. You just can’t beat it!
‘Never Grow Old’ is a gorgeous track. The focus here is on the more soulful side of things. A beautiful vocal loop, great piano sections, heavy on the percussion and the beats are much more chopped up and funky. Those all important hi-hats are much more arresting than on previous tracks too. This is one track that really stirs your emotions and has a wonderfully uplifting quality to pull you out of the doldrums.
‘Higher’ is instrumental and has a darker feel about it. Thumping beats, deeper synths, huge bassline and much more minimal. This is one of Robert Hood’s finest moments in my humble opinion, from the way the track builds up gradually getting more intense. It creeps up on you putting you in a near trance like state. Then he cleverly strips it back midway before re-injecting the track with some fantastically tribal like beats. This is something only an expert like Robert Hood can pull off. Superb!
The last track Above The Clouds commences with some big beats, then in comes the hi-hats for a few bars before being taken out and another percussive element is brought in. This all comes together with some fabulously warm and wavy synthesizers. The beat remains a constant as do the keyboards while the underlying percussive elements change throughout. This is an understated and effortless sounding lesson in minimal Techno. Pure class!
This album has been an absolute joy to listen to. ‘Paradise’ is full of classic tracks, I can guarantee you will listen and dance to this album time and again. Don’t miss out on this. Get your copy here.
This release is forthcoming and links to previews and purchase will be added as and when we receive them.
Kyle Hall has been a name to watch ever since his first release for Omar S’ FXHE label back in 2007. He was only a mere 16 then. Since that first release he has unleashed a series of gritty, lo-fi EPs; mostly on his own Wild Oats label. Records such as ‘The Dirty Thouz’ and ‘The Sun Goddess’ have been some of the most interesting music to come out of Detroit in a long time.
Before we get into the music on this new offering, the first thing that grabs you is the cover. Hall sits on the edge of an abandoned speed boat on a frozen lake, with the stark urban backdrop behind him. This sets the scene perfectly for the musical treats in store at this ‘Boat Party’. Hall’s productions have always had a raw, ‘rough round the edges’ charm that demands immediate attention. This album is certainly no exception.
‘KIXCLAPSCHORDSNHATS’ opens proceedings warmly. The track does exactly what you’d expect with such a title. My only gripe here is that it’s all over in under 2 minutes. ‘Dr Crunch’ and ‘Spoof’ are a couple of jolting, energetic workouts made up of metallic beats and distorted bass noises. These are likely to be the highlight of many a Techno night in 2013. ‘Finna Pop’ and ‘Flemmenup’ head close into footwork territory, the high-speed underground sound from Chicago. I can imagine the likes of Pearson Sound and Addison Groove fitting these into the sets. The House heads are kept happy with ‘Crushed’ and ‘Measure 2 Measure’. Distorted Disco loops and tape hiss filter in and out of the mix creating a sound that is strangely hypnotic, particularly on ‘Crushed’. ‘Grungy Gloops’ completes the set with a clattering, unbalanced sound that echoes some of Flying Lotus’ craziest work. Another track that is over in a blink of an eye.
Overall ‘The Boat Party’ has a raw energy that is enjoyable from start to finish. Noisy and deranged it certainly is. However it makes for a thrilling and intense listen.
This release is available to preview and purchase HERE:
The A side starts off with the ‘Minimal Detroit mix’ of ‘Time Lapse’. This kicks off with heavy synth bass stabs with a soon to follow thumping kick drum and the vocal of ‘Time Lapse’ repeating itself (reminding my 4 year old son of Tron). Crisp, shuffling hats move the track along nicely before a groovy and catchy Rob Hoodish style synth line gets the party well under way. Whooshing chords and string melodies sweep in and out whilst robostyle vocals keep this dance-floor friendly number on a futuristic tip! A great club track.
A2 makes space for the ‘Time Lapse Displacement Mix’. Starting us off with spaced out synth lines and an arpeggiated bass-line, which carry on throughout the track. We’re then greeted by crashing claps and broken hats and a displaced and heavy broken bass line and beat. The echoing sounds of Time Lapse sneak in & out while the ever changing synth and bass-line keep the track moving and alive at all times and the displacement broken bass-line, hats n claps keep us on our toes. One for the adventurous dance-floor or headphones, a heavy nod and a big grin.
On the flip the B side serves us up ‘One Moment in Time’ (Original mix). This is more suited to the sunny surrounds I’m listening in while I write this. Almost straight in with an up-tempo and groovy feel with a simple but thumping kick drum. The sassy clicks, hats n claps step it up to a real foot tapper and head nodder with more of a house feel than the A side. The synth lines and melodies keep in touch with the rest of the EP keeping with the futuristic edge.
B2 gives us the ‘One Moment in Time’ (Arnold Steiner rmx). Keeping the hooks and sounds from the original, but with a more squelchy and acidic feel, making you think you’re in for a similar ride. But then the metallic hats come on board giving this an old skool Electro hit. Old skool bleeps and then the strings take the track up another level. Some sinister and deeper chords drop in from time giving it a deeper edge. Another different style track making this a worthwhile EP for your collection.
This release is due out some time this month, links to preview and purchase will be added as and when received.
It looks like the heat is on with new releases for the summer and this looks set to be an absolute belter. Rolando is about to release a new 3 track 12″ E.P. with Ostgut Ton. Keep your eyes open for the release date and preview it HERE!:
Less than 2 weeks ago I had the sheer luck to be able to dance to Omar S as he played at Pleasure Principle on my new home turf and as luck would have that this new podcast has just surfaced. If you’re familiar with Omars S then you’ll know his deep and soulful grooves. If not then give this a listen anyway. There’s no better way to kick start the summer. Perfect!
Aux 88 are without a doubt legendary in Detroit Techno/Electro circles having influenced an entire generation of Detroit artists and their ‘Black Tokyo’ project, involving Ice Truck and Erika Tele alongside Aux 88′s Keith Tucker and Tony Hamilton, although pointed in a different direction further expands their repertoire. Focussing on a slightly different angle, with proper vocals over tough Detroit beats, and with the eyes firmly on the future.
‘Blue Love’ is a deeply emotive affair, which although having Techno sensibilities sits firmly in the Housier end of things. Crunchy ‘top end’ percussion and bouncy bassline meld perfectly to form the backbone for this number which may actually be destined for a certain degree of commercial success. The vocals are heavily vocoded but without that intensely annoying 90′s R&B feel, the melodic synths are warm, with just a hint of sadness and the string arrangements are sublime using real violins and a depth of composition not often found in many modern dance tracks. For those who really do not dig the vocals the instrumental is available and is identical in arrangement. I personally dropped this in the middle of a Techno set and it went down a storm!
Finishing the EP off is a track entitled ‘Dark Deceptions’ overlain with indecipherable, yet sincere sounding Japanese utterances and laid back kraftwerk-esque Electro percussion, this track does have a ‘filler’ air about it – but is nice enough and compliments the main tracks well.
To sum up, Blue Love really is more of a single than an EP – but what a single! It really does have the potential to tap into that ‘Inner City’ type market, although the slightly wistful rather than upbeat edge to it may prevent it from doing so. Nevertheless, this really deserves some attention from both the Techno and House music arenas. Refreshing.
This release is forthcoming and links to preview/purchase will be added as and when we receive them.
One half of the ‘Motorcity Sounds’ Radio/DJ team Trish Van Eynde will be a name familiar to many, endlessly fighting the good fight, promoting and playing only the finest in underground Electronica. A real ‘face’ on the Internet with regular shows and guest slots everywhere this young lady has fantastic taste in music. This is evident not only in her DJ sets but now also in her production and choice of remixers.
Trish’s original version of Goon is an insistent, straight up Techno thumper, sparse but laden with a hint of melody and splash of groove. Plenty of heart and dedication has obviously gone into this and it has an erratic, random and somewhat organic edge to it which despite the Techno ethos gives the track a more human feel.
Klaina’s take on ‘Goon’ is driven by 808 percussion, focussing more on the warm pads that enter toward the end of the original version, looping them up in such a way as to give the track a little more pace. More variety on the drum programming here giving it a busier, less ‘sparse’ feel. This mix is definitely aiming for that ‘Motor City’ feel with warming Soul and abstract melancholia in equal measures. Nice stuff.
Now, I am sure Trish and Klaina will not mind me saying that the one and only Orlando Voorn’s version is the star of the show here. Whilst the original and Klaina’s mix have plenty to say for themselves, what Orlando has done here is take the heart and soul of the original version and RAN with it… The inimitable Mr Voorn here delivers his trademark thunderously groovy percussion and takes the main groove from the original and twists those chord sequences around it to form something irresistible. When all of the elements finally meld together the genius of this arrangement becomes clear, the parts all come together to form a conclusive whole. A real story is told within this mix, and this story has a happy ending for all involved. THIS is how you do a remix everybody… Full marks, and then some.
Nice work Motorcity!
This track is available to preview and pre-order HERE: