Showing posts with label drum and bass. Show all posts
Showing posts with label drum and bass. Show all posts

Tuesday, December 18, 2018

big up all haunty cru



A festive mix from the Man like Ian Hodgson, reminding me I've been remiss in not proclaiming the existence of a new Moon Wiring Club album, Psychedelic Spirit Show, which arrived at its customary time of year a few weeks ago and is ruddy excellent.



PSS ventures further down the marshy path towards total entropy - sunken grooves, gappy beats, wilting tones, voices like flickery lantern-lit faces receding into foggy formlessness.

Even though PSS doesn't sound anything like it, the origins of the album lie in a just-for-fun exercise in making "drum & bass / jungle / raveish / whathaveyou tunes", Ian informs. The resulting 25 or so tracks  - never intended for release, designed merely as a "meditational vibe / head-space cleaner process" - then became the mulch out of which grew a completely other project.  Approaching the source material as if doing a mix, Ian took bits from one track and put them together with bits from different tracks. "I split each track into 3 sections ~ rhythm / melody / effects (voice samples and that) then applied numerous knackering techniques and filters, and began to construct whole new shonky-hybrid tunes overlaying a melody from one track with the rhythm of another.  I called this process (wait for it) ‘unconscious compositioning’ -  a way to distance myself from the predictable choices that you inevitably make when composing music for a number of years, and then being able to surprise myself with choices I wouldn’t wholly ever have made."

Less loftily, Ian also described the manky making of the album as "a bit like getting the dust out of an antique carpet with one of those wicker tennis racquet carpet beaters".

In an analogy that really couldn't be further up my alley,  Ian further describes the final sequenced album as reminding him of  "a car tape I had in the 90s. On one side was Grooverider The Prototype Years and on the other a selection of 60s/70s light entertainment tunes. If you imagine that tape festering in a glove compartment for 20 years until both sides play together simultaneously at the wrong speed..."

The Dream Perception Machine mix is also splendid seasonal stuff with a loose "Psychedelic Telly" thematic. In an apt time-twisty metaphor, Ian describes the contents as "retroactive inspirations" - the kind of stuff that could have informed the making of the album, except they didn't.


Psychedelic Spirit Show, incidentally, is a vinyl-only release, purchasable here (UK), here (Europe), or here (rest of world). 

But - breaking with customary seasonal release rhythms - there looks likely to be a Moon Wiring Club compact disc in the spring. 

Wednesday, March 14, 2018

frozen futures and final sicknesses (see you in 2018)


 

On news stands now, the latest issue of  The Wire contains a long review by me pairing the comeback album by Marc Acardipane a/k.a The Mover with  Sick Music 2018, a compilation of contemporary drum + bass on the Hospital label that I surprised myself by enjoying much more than I'd expected.  As well as an enthused review of two fine records, the piece is an investigation of  the fate of vanguard genres (in this case, gloomcore gabba and D+B) when their accelerationist drive stabilises into a steady state.





The Mover - Undetected Act from the Gloom Chamber.

Also in the April issue, a reet treet for all nuumologists: Michaelangelo Matos's Primer to Pirate Radio Deejay Sets. He's done a fine job laying out the evolution from circa 1989 through to the post-dubstep diaspora and his forensic sifting through the messy mass of archival tapes deposited online by old skool fans has uncovered a trove of true gems. This is probably my favorite of the Matos selections that I've so far checked out.



Finally, in case you missed it, I recently uploaded the best of my own stash of pirate tapes, which I'd digitized some years ago but never got around to turning into YouTube clips.

Wednesday, January 31, 2018

RIP Tango




Tango interviewed by Droid five years ago and written up for Blog To the Old Skool 
















three years of nuumvolution across three remixes - 91 - 92 - 93








on the ones and twos with Ratty











































Wednesday, May 28, 2014

new steps of change




"Uncredited female vocal sample in 'Horizons' is Maya Angelou reading from her poem 'On The Pulse Of Morning', at the inauguration of former US President Bill Clinton (01/1993)" 

Saturday, December 28, 2013

intro inspection

Nominated by the Phil Zone as this year's topic. Seconded by Our God Is Speed. Ratified by ththrong. This year's theme is: Great Intros.

Can't be the clearing house for non-blog-owning entities just yet, owing to commitments over the holiday season. For now, a few suggestions of my own.

Lovely darkly shimmering bit at the start of this Roxy:



Aerosmith had a penchant for the unusual or dreamy-eerie intro:

  

There is a dubby-metal thing going on at the start of these near-contemporaneous MTV faves by Guns N 'Roses and Def Leppard

 But this time around, though, not going to stick to rock, or even hand-played music. 

 The Drum and Bass Intro could be one of the worst things ever, especially during the Intelligent Era -  every bleedin' track came with a long drawn antechamber of synth-pads and atmospheric flatus. Always for the same (excessive) number of bars too - such that you could look at the vinyl on the 12 inch and see how far it was before the track got going, the grooves looked different. 

But there were killer ones too, proper tension builders, and others that walked a line between daft 'n' deadly: 

 

(That is Japan's "Nightporter", that intro).

Many more from the world of dance to come I'm sure.

But for now, in closing, and before anybody else nabs it - from 2001, Osymyso's "Intro Inspection", a mash-up made of 101 intros....