Gomma co-owner Telonius has a new single out, and in celebration, he’s also prepared a free mix of some of the best in futuristic, French-inspired, disco-infused house music. Featuring everyone from Headman and Dennis Ferrer to Hot Chip and Susu Bobien, it’s sure to please fans of the Gomma sound and newcomers alike. Download the mix here, and check out the full tracklisting after the jump!
Telonius’ Winter Wipeout Mix Tracklisting:
1. The Swiss – Manthem (Tensnake Remix) 2. Headman – Private Show (Telonius Remix) 3. Golden Bug – Flamingo (Pete Herbert Remix) 4. Cecile + Venice – Rimmel 5. Lorenz Rhode – Like a Player 6. Telonius – Disco Tec (Moullinex Remix) 7. Mustang – Try to Dance 8. The C 90´s –1001 (Villa Remix) 9. Zoo Brasil – Fancy 10. Hot Chip – One Life Stand (Carl Craig Remix) 11. Lele – Disco Monster (Mercury Remix) 12. The Phenomenal Hand Clap Band – Baby (Daniel Haaksmann Remix) 13. Bottin – Disco for the Devil (Telonius Remix) 14. Dennis Ferrer – Heyhey 15. Lutzenkirchen – Till I Come to Your Rescue (Psycho Dub Mix) 16. Telonius – Hit Me (Ian Pooley Remix) 17. Gloria Estefan – Turn That Beat Around (Def Conga Mix) 18. Night Communication – Let’s Face the Music 19. The Bucketheads – The Bomb (Kenny Dope mix) 20. The KDMs – Never Stop Believing (Nicky Siano Remix) 21. Susu Bobien – You Don´t Know (Muthafunkaz Tribute Mix – Telonius Re-edit)
When people talk about the rejuvenated New York house scene, they often point to Fred Peterkin, better known as Black Jazz Consortium. The Soul People Music label head has been quietly releasing a string of top-notch deep house tunes, both under the Black Jazz Consortium moniker and also as Fred P., which usually finds him experimenting or stretching his creative legs a little further. “On this Vibe” isn’t exactly experimental, but it does find Peterkin settling into a relaxed, soulful groove over the course of its ten-plus minutes. With its rolling synths and intermittent piano stabs, it’s the sort of track you want to hear toward the end of the night when the dancefloor is winding down, but you’re still chilling with your friends and it’s not quite time to go home.
London’s Tape to Tape follows up its recent EP, The Devil Made Me Do It, with this rework of the first single taken from Headman‘s forthcoming album 1923, “Private Show.” From producer Robi Insinna’s original track, the production/DJ outfit crafts an eight-and-half-minute disco-house burner that’s inherently funky in sound and undoubtedly classic in style. Headman’s new album is set for release on his own label, Relish, and features collaborations with members of Yello, Beta Band, and Cassette Kids.
Seth Troxler‘s recent surge in popularity may have more to do with his gift for delivering the perfect sound bite than delivering consistently strong tracks, but one thing’s for certain—the young Berlin-based expat knows how to craft a mix. Troxler’s past podcasts for The Bunker and Save the Cannibals are first-rate efforts in low-slung, slinky house. Boogybytes Vol. 05, on the other hand, paints in broader strokes. Jazzy deep house to skittish minimal techno, uplift to melancholy, the mix’s arc across genres and moods is impressive, and tracks from Baeka, Birds and Souls, and Kiki are downright superb, but the mix never really hits its stride. Boogybytes Vol. 05 may not be Troxler’s best, but it’s certainly worth a listen.
If the art of recording sits just outside your range of concern or abilities (but doesn’t weaken your desire for good quality), the Yeti (MSRP: $149.99) could be your new best friend. Wires are minimal, as it connects to your computer and is powered via USB. It looks and feels like something off The Tonight Show podium, and is capable of bludgeoning a man much larger than yourself. It uses a three-capsule design (versus the two included on Blue’s own Snowball, or the one on many other mics), and offers four modes: omnidirectional, cardioid, stereo, and omnidirectional. It is not at all portable, and the knobs are made of chintzy plastic. If these two aspects do not pose a problem, however, sound quality is some of the best-in-class, and THX certification means you’re rather unlikely to get a lemon.
Next week, Scuba‘s Hotflush label will release the first of two remix EPs from up-and-coming UK duo Mount Kimbie. The original versions of tracks like “Sketch on Glass” and “Maybes” have stayed in heavy rotation for us since their 2009 release, so we’re excited to see what producers like James Blake and Instra:mental have come up with when allowed to experiment with Mount Kimbie’s original source material. In the meantime, the folks at Hotflush are offering up this FaltyDL remix of “Serged,” which appears on the first remix EP. Part two will follow on April 26 with remixes from Tamo Sumo & Prosumer and SCB.
Dan Deacon‘s remix of “Lewis Takes Off His Shirt,” the new single from Owen Pallett‘s latest album, Heartland, sounds fairly unusual compared to his usual neon-soaked hyperactive musical fare. Obviously, Pallett’s falsetto and chamber-pop instrumentation are nothing like the heady synths found in Deacon’s solo work, but the Baltimore-based producer introduces a large amount of percussion into his remix—bringing to mind the live drumming heard on his second album, last year’s Bromst. It’s an unexpected contribution to the forthcoming Lewis Takes His Shirt Off remix EP, which also features reworks from CFCF, Max Tundra, Simon Bookish, and Benoit Pioulard.
Twenty-three-year-old UK producer Mosca is exactly where he wants to be in life: hovering above fetid labels like “club,” “house,” “bashment,” “garage,” and “grime.” Dance music heads in the UK and beyond clamor for his meticulous, minimalist roomshakers; he’s currently finishing remixes of Four Tet and Foals, and working on a follow-up to his hit debut EP, Square One; Fabric just released his track “Gold Bricks, I See You” on their January Elevator Music compilation; he’ll be carting tons of vinyl (“If you can’t mix two pieces of vinyl, you’re not a DJ,” he offers) to clubs in Bristol, London, Poland, Copenhagen, and beyond this year; and… “I just got five bookings in one day the other day,” he remarks. “This whole music thing’s kicked off.”
His secret for dealing with it all? “Patience,” says Mosca, born Tom Reid in Aylesbury, UK. “I’m in no rush to get anything out for the sake of it. When it comes out, I’ll be happy with it 100 percent.” It’s not the most efficient way to work, but it’s guided him artistically.
In fact, Reid spent eight months crafting his EP’s b-side, “Nike,” while working in food service and considering a career in journalism. (He’s also the founder of Bruk magazine.) The track alights on a wacked-out beat reminiscent of Madlib, before an 8-bit Casio solo starts ripping it up. It’s dubby as hell, transforming into a skittering garage groove four minutes into the 10-minute epic. It feels intuitive, yet surprising. “I always start with a beat,” he explains. “I don’t start out with something in mind. I just think, ‘I want this to be hectic’ or ‘a banger.’ I don’t worry about scales or breakdowns; mainly getting the beats and the bass happy.”
“Nike”
Reid produces on a simple PC running Reason. He plays bits of piano, keyboards, and drums, but mainly draws on eight years’ of samples that skew to his affection for reggae and dub, as interpolated by North London and parts even farther North. “If you can sit down at the computer and turn it on, start some loop up, and eight hours later still be there listening to the same loops—you haven’t eaten or gone to the toilet—if you’re still hypnotized and enraptured [by] it, then you know you’re on the right track,” he says. “If you’re not sure, sometimes the best thing to do is delete it. Even if you spent a month on it. Just delete and you’ll come up with something better the second time.”
His name (which is Spanish for “fly,” meaning “cool” and a shit-eating insect) is a nod to the recombinant nature of art in the age of mass production. “I like the idea of feeding off other people. Nothing’s original anymore.” Which is partially a lie—”Nike” is definitely one of a kind. And although Square One was released on L-Vis 1990 and Bok Bok’s Night Slugs imprint, Reid remains unsigned because he worries that associating with a particular label will brand his peculiar style for life. Instead, he’s content to float above it all. “It’s quite a big thing for me,” he says. “However broad your label, there are certain connotations attached with every [one]. They get lumped very quickly with a certain type of sound or scene and it’s not really about that. I can happily play just a straight bashment night, and think, ‘Man, that was nice not having to play house or play what’s in at the moment.'”
The latest installment of All City’s split 10″ series featuring the stars of the Los Angeles beat scene comes from Ras G and Samiyam, whose collaborative efforts with FlyLo have been lauded for their originality. Here, the Angeleno crafts a shuffling beat that rides below sub-sonic bass tones, accordion synth-drones, and little bits of secondary high-frequency flourish. Though it isn’t the most danceable selection, “Fishsticks” uncannily invokes scenes of domesticity and service work—in other words, one can totally see a short-order cook jamming to this piece on the job, especially after its squelchy apex.
Baltimore’s Future Islands are quickly emerging as the media darlings of a musical movement that some are calling post-wave and others are calling a return to the New Romantic sounds of 1980s Britain. (Hints of contemporary artists like Xiu Xiu and TV on the Radio also abound.) With its shimmering synth melody recalling Eno’s “Spider & I,” deep kicks, and male-female vocal contrasts, “In the Fall” is a near-perfect slice of melancholic electronic pop. Taken from their latest 12″ and recorded just weeks after completing their first album, the single is sure to win the trio many fans who lament the end of spring and its inevitable goodbyes.
