Why do post-long-weekend weeks feel longer despite being shorter? How many angels dance on the head of a pin? Who needs a drink? I can only answer the last one, but this cosmic disco mix will go well with beverages with tropical fruit in them. Enjoy.
Recorded Oct 15 2013 by Dave Morris for a-void.ca
1. Jan Hammer – Crockett’s Theme – Crockett’s Theme (MCA)
2. Pye Corner Audio – Zero Centre – Superstitious Century (Boomkat)
3. Peter Gordon & Factory Floor – Beachcombing – Beachcombing/C Side (Optimo Music)
4. Lapalux – Swallowing Smoke – Nostalchic (Brainfeeder)
5. Golden Teacher – Like A Hawk – Do Not Go Gentle Into That Good Night (Optimo Music)
6. Lusine – Lucky (Steve Hauschildt remix) – Lucky (Ghostly International)
7. Kaito – Behind My Life – Behind My Life (Kompakt)
8. Le Carousel – Stick Together – Stick Together (Phil Kieran Recordings)
9. The Mole – History of Dates – History of Dates EP (Perlon)
10. Herbie Hancock – Just Around The Corner – Mr. Hands (Columbia)
11. Matias Aguayo – Minimal (DJ Koze remix) – 20 Jahre Kompakt Collection 1 (Kompakt)
12. Siriusmo – Congratulator – Enthusiast (Monkeytown)
13. Jonas Reinhardt – Private Life of a Diamond – Mask of the Maker (Not Not Fun)
14. Prins Thomas – Flau Pappadans (DJ Fett Burger Taekaeli mix) – Bobletekno & Flau Pappadans Versions (Full Pupp)
15. Oyvind Morken – Gikk Av Pa Holmlia – Kakemonsteret (Full Pupp)
16. Todd Terje – Strandbar (Disko version) Strandbar (Olsen)
17. Carter Tutti – Coolicon-A – Coolicon (Conspiracy International)
Ah, jazz prodigies. Theyï¿½re like some rarified tropical fishï¿½often strikingly beautiful but not very good at adapting to changes in their native environment. LA pianist/composer Austin Peralta has been playing since age 5 and though heï¿½s racked up collabs with the likes of Chick Corea and Ron Cater, he seems to have already stretched beyond jazz-police conservativism to embrace electronic sounds, which bodes well for Endless Planets, his album on FlyLoï¿½s Brainfeeder label due out Feb 15. You donï¿½t have to be a trainspotter to hear echoes of In A Silent Way in the discï¿½s brief final track (a collaboration with The Cinematic Orchestra and singer Heidi Vogel):
In my experience as a young student (certainly not any kind of wunderkind, for sure), the hardest part of growing up playing jazz was the feeling that you needed to love it to the exclusion of other music, and not worry about the fact that you were in effect turning your back on the pop culture that for most other kids was the whole world; too many former prodigies either end up making the most terrifyingly gauche fusion/jam band stuff, or just turning into bebop arch conservatives. It seems from what little of his music Iï¿½ve heard that Peralta manages to comfortably reconcile hip underground electronic sounds and jazz changes, and Iï¿½m dying to hear the record and find out whether I really need to be jealous or not.
On an unrelated musical note (but a similar haircut one ï¿½ see above), I thought for some reason that Monkeytown (Modeselektorï¿½s label) signing Siriusmo was putting out his record in early February. So after thinking I had missed my chance to preview it (Rule #2 of blogging: donï¿½t take three weeks off after being embarrassed at having taken two weeks off), I was pleased to discover that it doesnï¿½t drop until March 1 in North America, thus giving me a chance to yell BUY IT BUY IT BUY IT in all caps as a preview. If I had to describe Mosaik in, say, a police report filed by my irate, deafened neighbours, I guess Iï¿½d call it a tech-house album? But really itï¿½s gloriously all over the place, with all the capital-F Fun you remember from early rave era and none of the cheap brain-battering tricks that four/four producers have binged on of late. There are more fist-in-the-air stuttering synth stabs on Mosaik than I care to remember, mostly because my copy is one big MP3 file that I never want to stop, pause or otherwise interrupt. I wish everything with a straight-ahead club beat was this giddily enjoyable. I also wish it was 1992 and someone had just given me something with a happy face on it, but enough about me.
At first the fact that I would rather listen to Tim Heckerï¿½s beatless productions than anything with a kick drum had me believing my brain had begun the inevitable decades-long slide into mushy Phil Collins fandom. Then I remembered that I felt the same way about Harmony In Ultraviolet and An Imaginary Country as I do about Heckerï¿½s upcoming tour de force, Ravedeath 1972, so maybe itï¿½s just that the rest of my listening is catching up with what Iï¿½ve enjoyed all along. To be fair, Heckerï¿½s latest is mostly harsher than the likes of the Cluster, Tangerine Dream, CFCF and Emeralds albums Iï¿½ve been sloooooshing around in lately; thereï¿½s no ambiguity in tracks like ï¿½The Piano Drop,” just sadness turning to menace and the occasional moment of pure aggro. You ask for miracles, I give you the grisly middle of ï¿½Hatred Of Music I.”