I prefer the format-- longer, evolving, repetitive rhythms-- but I get that from dub just as much as house and techno. I'm also into the futurism and otherworldliness, which were obviously influences on jungle and so by default, dubstep anyway. Everyone is influenced by house and techno whether they realize it or not-- it's foundation. It can be misleading to describe new music using words that have 90s contexts though. I've got a dubplate of a tune by a young Bristol producer that sounds like a 1990 Derrick May record. I know for a fact he has never heard a Derrick May record. Is he influenced by Derrick May?
Anyone who’s been to this space before likely knows that Pev is one of the resident godheads. Whether you’re digging into his work circa ‘08 or ‘18, it’s really all just gravy, innit? Bummed I won’t likely be able to get a copy of the repress of dubstep classic “Bluez” when it comes out this week, but seeing that there are $9 copies of Jarvik Mindstate still floating around, think I’ll be OK:) Gotta love that he named that collection after the dude who invented the mechanical heart valve, as really, is there a better metaphor for the guy whose pretzeled rhythms continue to inform much of the most exciting sectors of FWD dance music? Now, take in this bananas remix of 2nd II None’s belter “Waterfalls” and let’s get on with it, eh?
As I wrote to a dear friend last night, the below Riko Dan set from earlier this year is kinda the best thing in the world to me. While I find much of UK grime’s continued fixation with trap hihats and rhythms a bit predictable/dull, when you have an original badboy going positively apeshit over several dozen instrumentals provided by OGs like Slimzee and Trends. It really doesn’t get any better imho.
With so many fantastic reissues and archival releases floating around, keeping up with the ever-increasing diversification and enriching of music history can become a tad fatiguing for those more inclined to let an algorithm dictate their new music discoveries. But fear not! As daylight recedes, your local vampires have more time than ever to suck out the iron from the myriad reissue veins coursing across the cultural vista (hehe). Portland’s Sahel Sounds has long been one of my favorite endeavors as they excel at excavating musical WhatsApp conversations and boutique pressings like this painfully beautiful set recorded in northern Niger in 1986. Per the information provided with the label’s repress of this sole record from the all-girl elementary school choir Troupe École Tudu, located in the eponymous neighborhood in Agadez, the group was led by Kader “Barmo” Balla, a Tuareg guitarist who started on the instrument when it was introduced to the country a few years earlier. Creating the original composition “Oyiwane” (Welcome to Everyone), a euphoric and life-affirming song employed a melody that was mirrored in both the singing and musical accompaniment per traditional Malian and Guinean folk music, the group won a state-sponsored competition that enabled them to head into the studio and record an album’s worth of tear-inducing joy. Really, really special stuff.
S/O to the homie Eli for hipping me to this insanely prescient François de Roubaix OST written for the 1971 Harry Kümel film Daughters of Darkness. I feel like there’s been an influx of reissues lately that I’ve seen people comment “It’s like Portishead/trip hop twenty-five years earlier” as of late, and this certainly fits that bill. Seductive, eerie, and funnnnnnnkkkkkkkyyyyyy!
Now onto some jams that have not been reissued, but surely will at some point because they are absolute fire. Was talking to Pipecock over at Infinite State Machine about that Joe Lewis reissue (one post back) and he shot over this early record from Damon Peterson of Tetrode Music non-fame off of his 1995 Lillian twelve for Relief. Total banger.
Now, off to my local chapter of the Royal Arch! Toodles<3<3<3