New mix: Wait For Me

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Lyfe, LOL amirite? Big changes lately for me, hence the lengthy gap between mixes. But you don’t care about that, you just want beatzzzzzzz. (As you should.) This one was prepped a while ago but is finally ready now, for your hooptie’s 5-disc CD changer with the windows down. And keep your eyes peeled for the next mix, it’s a scorcher.

Download from Mediafire

 

1. Joseph Petersen – Considerate – Wishbone (Donky Pitch)
2. Curtiss King – Flexible Minds – Creatine (Alpha Pup)
3. Lunice – Burnt – 180 EP (LuckyMe)
4. MONO/POLY – Flooded – Cryptic (Hit + Run)
5. Slackk – Pigeons – Aviary Ep (R&S)
6. Tom E. Vercetti – Infinite Plane – Future Perfect EP (Coyote)
7. Commodo – Solid Gold Telephone – Set It Straight (Black Acre)
8. Tom Furse – Trans-Universal Express – Child of a Shooting Star (Lo Recordings)
9. Jeremiah Jae – Shankpanna – Yard Sale 4 (self-released)
10. Sensational & Kruton – Turn the Page (Instrumental) – You in the Right Spot (Power Vacuum)
11. Herva – Mistakes Dealer (Solid State) – Kila (Planet Mu)
12. The Orb – Moonbuilding 2703 AD (Teebs – Moon Grotto Mix) – Moonbuilding 2703 AD Remixes / Sin In Space,  Pt. 1 (Kompakt)
13. Zuli – Robotic Jabs in 4D – Bionic Ahmed EP (UIQ)
14. Sei A – Morning Soldier – Space In Your Mind (Aus Music)

Mixed by Dave Morris a.k.a. Deemo for a-void.ca on April 2, 2016.

a-void.ca’s best albums of 2014

Click here to listen to the Soundcloud playlist, featuring tracks from each album

WHERE IS T-SWIFT?

Ok, I admit it, I didn’t listen to it. Nor did I get through albums by Ariana Grande, Ed Sheeran, Jessie J, Keyshia Cole, Calvin Harris, et al and sundry. I also didn’t hear all of Ariel Pink, Foxygen, Swans, TV on the Radio, Leonard Cohen, Julian Casablancas and too many others to count. Don’t even talk to me about jazz or country. (I wouldn’t have much of interest to say.) So WTF *did* I listen to? I’m not even sure how to describe it. Dave-core? Morris-dance? …maybe it’s better if I don’t.

This is the odd post-poptimist desert I feel like I’ve been sent to, via my escape pod hurtling from the full time music-crit grind. The barriers have all fallen – like a lot of right-thinking people, I’m perfectly happy to flip flop from Nicki Minaj to Neil Young to Young Thug in the space of an hour, but what happens when you don’t have time to devote to what might properly be called truly Catholic tastes? Does my embracing of a specialty – electronic music, not even really including the hip-hop that used to be part of my professional bag – mean I’ve re-embraced some of the biases I spent the early 2000s working to shed, like an earnest young Chinese party bureaucrat devouring Marx and Mao, and then giving it up in favour of Day Trading For Dummies?

It’s not a question of openness, I’ve realized, but a question of how you apportion your listening time. For better or for worse, I shoved the stuff that seemed like a long shot into a hard drive folder marked ‘Later’ and threw on another platter of grime, and this is the list that came out.. There was certainly no kind of shortage of amazing electronics to digest; the volume of almost-worthy discs attests to that. (Sorry Tre Mission, SBTRKT, DMX Krew, Shi Wisdom, Mark McGuire, Run The Jewels, Pop Ambient 2015, I could go on.) The LPs that did make the cut seemed not quite dancefloor friendly, except in an abstract sense. Bits and pieces of LV and Joshua Idehen, Caribou, Distal et al slipped into my mixes with scant friction. But the inventiveness I loved often didn’t fit in the space between floor-filling singles, not that I mind. Still, this is a list borne of someone who experienced dance music in 2014 mostly in a bedroom or between headphones. Simon Reynolds’ inveighing against IDM-like anti-dancefloorism aside, I don’t think that’s a bad thing.

The startling truth is that being kind of lazy, in terms of challenging your sense of what you like, can still be an astonishingly rich listening experience. There was enough originality and delight in my year in albums to make the absence of all that pop and hip-hop I missed feel about as painful as the knowledge that I didn’t eat nearly enough artisanal cheese in the last twelve months – not quite the sting of regret as much as the vague acknowledgement that I may have missed something good, possibly, but it’s not keeping me up at night.

If I had one thing I would ask of dance music in 2015, it would be for the most hypnotic, challenging, arresting, electrifying albums to be a little more melodic. I love the discs I chose, but as a whole I felt like my diet was a smidge on the grey side. Producers like Mumdance and Logos, Peverelist, Objekt and others put out single after single of holy-shit-guys-listen-to-this-ism, but when I put them all in a mix, I ended up taking a bunch out and replacing them with some chooons to break up the monotony. And the grab-bag of albums felt roughly the same, though I didn’t curate this list in a similar way. You can’t turn down a slamming, mesmerizing beat like the ones all over the Next Life comp or the Clap! Clap! record, melody or no. Candy is dandy, but liquor is quicker.

Albums: Teebs, SBTRKT, Ekoplekz and more

estara

Teebs
Estara
Brainfeeder

I’ve pretty much given up trying to find acts that are in the Flying Lotus vein – I thought there must be a whole untapped community of freaky beat wizards out on the coast, and as it turns out, there were maybe five. Listening to Teebs’ first album was kind of like listening to the crop of “next Amy Winehouse” candidates, in that I realized just how much I was setting myself up for disappointment comparing artists to FlyLo. Sure, the textures were pretty, but where was the boom-bap? If I wanted drippy background keyboard business with hushed vocals, I’d listen to Sigur Ros. Funnily enough, E S T A R A is basically even more Sigur Ros like than Ardour was, what with the acoustic guitars and the echoing percussion and the bells and the ethereal choirs (yawn, gag etc). But since I got myself a decent subwoofer, I realized that Teebs’ music relies to some extent on the tension between the beatific sounds in the treble and mids, versus the ruffneck business in the bass. There ain’t nuttin nice in the big fat kick drum driving “Hi Hat” or the Zepplinesque break powering “Shoouss Lullaby.” More than before, he finds ways of marrying the sublime and the sub-frequency-violence that add up to more than their parts. Recommended.

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SBTRKT
Transition.
Young Turks

I don’t entirely get why people go nuts for SBTRKT. Is it the mask? It can’t just be the music, which is interesting but hardly worth going all gasp-and-drool over. Most footwork producers churn out tracks with similar textures and programming skill, only unlike this guy they pump out dozens of them every three months. “Kyoto” is admittedly a triumph of layering thin textures on top of each other until you can hardly stand it. But when he gets closer to “trap”, I lose interest. Is this another thing we can blame on Drake? (YOLO?)

phonica

Ten Years Of Phonica
Phonica

Record stores are your friends, people. The first time I hit up Phonica in London, I confessed to the guy behind the desk that I was having trouble finding fodder for this blog, and did he know any artists maybe I had missed? An armload of records later, I vowed to add the place to my must-visit list. This disc shows that I’m not alone, since presumably artists like Legowelt, I:Cube, Joe Claussell et al don’t just license their best tracks to comps by people they don’t like. The elusive Trevor Jackson (Playgroup) and Henrik Schwarz both contribute subtly simmering tracks, while Steve Moore’s remix of Iori and Juju & Jordash pitch their curve balls from way out in leftfield. But the real highlight is Raudive’s “Health” with its perfect balance of tribal and techy.

ekoplekz_unfidelity_grande

Ekoplex
Unfidelity
Planet Mu

I’m an unabashed Nick Edwards fan, and not just because his Gutterbreakz blog was a crucial and singularly illuminating part of the music blog 1.0 revolution I covered in the early part of my career. Unfidelity is an uneasy listen, even if you’re merely focusing on the early-industrial-meets-sci-fi-soundtrack textures, all dystopian metallic percussion and dry mechanical drum machine brutalism. It’s hard to make that engaging for three minutes, never mind an album, but Edwards’ collection here is like watching a 70s techno thriller eg. Alien or The Andromeda Strain – you want to switch it off even as you’re admiring its aesthetics and claustrophobic mood, but every time you reach for the remote, the realization that you’ll have missed whatever lies around the corner makes you hesitate.

analoguecops

The Analogue Cops
Heavy Hands
Restoration

I like minimal stuff – really minimal stuff. Drone? Sure. Tape loops? Where do I sign up? I also like some of Analogue Cops’ singles, at least to work into DJ sets. Things that are track-y are not necessarily dull. But this …is just dull. I appreciate the brute force of a good long drum loop and/or whooshy noise as much as the next person on epic quantities of drugs. But this… Nope. Just nope.

kassem-mosse-workshop-19-2lp-088499-9fc8b4ce

Kassem Mosse
Workshop 19
Workshop

It’s rare, in my experience, to listen to 52 minutes of music and not have strong feelings about it one way or the other, but somehow Workshop 19 manages that underwhelming state of equilibrium. Some tracks are just clashing assemblages of interesting textures; others are neatly arranged sets of poorly chosen synth patches. I seriously wanted to say something more interesting than “I wish he hadn’t used that farty horn sound on track B2”, but I wish he hadn’t used that farty horn sound on track B2. MEH.