Nguzunguzu Preps New EP, Drops a Free Mix

LA’s Nguzunguzu kept themselves rather busy in 2009—between production work for Maluca, remixing Buraka Som Sistema, palling around with XLR8RArtist to WatchKingdom, and hosting their insane Tuesday night weekly, Wildness, you could forgive Daniel Pineda and Asma Maroof if they decided to take it easy this holiday season. Yet the global-bass-loving pair have decided to keep their frantic schedule rolling; they’re currently in Mexico City doing some DJ gigs, and later this month they’ll be releasing a self-titled EP on their own label, Shade Business.

To commemorate their Mexico trip and new EP, they’ve put together a stellar new mix of UK funky, tribal guarachero, and other bass-loaded sounds from around the globe. The mix also includes a few selections from the new EP. Download it here and peep the tracklist below.

01 Sticky “Jumeirah Riddim”
02 Sticky “Jumeirah Riddim Sequel”
03 Footsteps “Baby Kinta”
04 Rishi Romero “African Forest (Original Mix)”
05 Makency DJ “Wao”
06 DJ Eridson “Hino Batucada”
07 Nguzunguzu “El Bebe Ambiente”
08 Debo “Helter Skelter”
09 DJ Pesado and DJ Fofuxo “Sirene”
10 Puto X feat. Maskarado “Quen E Que Mana Ai MP”
11 Nguzunguzu “What Dance?”
12 Baobina and I.D. “Mandown”
13 DJ Boda “Tááá BááTÖÖÖrr R”
14 Bok Bok “Whole World Changing 4X4”
15 DJ Pesado and DJ Marfox “Gerentologia”
16 DJ Corlando “Passa Passa (Kingdom Remix)
17 DJ Du Marcel “Tribal Sound”
18 DJ MA1 “I’m Right Here feat. Sophia”
19 Nguzunguzu “Got You”
20 Mike V “Feelings”
21 Basement Jaxx “Flylife”

Kompakt Celebrates 10 Years of Pop Ambient

Longstanding German techno imprint Kompakt is releasing Pop Ambient 2010, the tenth release in their annual compilation series of lush and relatively formless music, this January. The 13-track release, curated by label head Wolfgang Voigt, is purported to be “a defining moment for the series—a change in pace but a familiar face for those that have been yearning for our annual remedy,” and features both new and previously released tracks from the likes of The Orb, Popnoname, and recent XLR8R–featured artist DJ Koze. Fans can get their hands on the tastemaking compilation when it hits retailers January 18. Check out the artwork and tracklist below.

Tracklist:
1 Marsen Jules – “The Sound of One Lip Kissing”
2 Brock Van Wey/BVDUB – “Lest You Forget”
3 Triola – “Shildergasse”
4 Wolfgang Voigt – “Zither Und Horn”
5 Andrew Thomas – “Clouds Across Face”
6 The Orb – “Glen Coe”
7 Mikkel Metal – “Blue Items”
8 DJ Koze – “Bodenweich”
9 Jürgen Paape – “864M”
10 Dettinger – “Therefore”
11 Thomas Fehlmann – “In the Wind”
12 Popnoname – “Deutz Air”
13 Brock Van Wey/BV – “Will You Know Where to Find Me”

pictured DJ Koze

In the Studio: Health—The LA noise rockers ponder predatory beats and subvert their engineer’s advice.

On its latest disc, Los Angeles-based, EFX pedal-saturated quartet HEALTH presents a sprawling feedback loop both manically chaotic and meticulously paced. Featuring drummer Benjamin Jared Miller, singer/guitarist Jake Duzsik, bassist John Famiglietti, and guitarist Jupiter Keyes, HEALTH has followed 2007’s self-titled full-length debut with Get Color, an album borne from a sweltering, windowless practice space, an opening slot on the Nine Inch Nails tour, Tecate, borrowed Mesa Boogie amps, and gently nuzzling a good ribbon mic. While taping contact mics to floating looms and broken elevators, HEALTH painstakingly adjusted knobs and randomly generated harmonics to compose their most accessible, uncompromised tracks. Here, Keyes and Famiglietti hint at how the band ultimately arrived at its scorched grooves and cross-bled melodies.

Tell me about your recording environment.
Jupiter Keyes: We found a studio in Lincoln Heights with 30-foot-high walls that was 30 feet wide and 50 feet deep. It was drywall, though, while we were hoping for concrete or adobe or brick because it diffuses the reverberation a bit better than a flat surface. But it was still a very, very different experience than the first album, which we recorded in [downtown Los Angeles D.I.Y. performance space] The Smell.

What is it that the engineer provided?
JF: The first album, we didn’t know what we were doing; it was made mostly on laptops with whatever gear we had.

?JK: On our first album, John went to so many message boards and then we applied whatever knowledge he could find. That might lead to six hours moving a mic to get it to sound right. So working with an engineer, we learned so much about things like phase cancellation when layering, properly positioned monitoring to really understand how your bass resonates—things that are important when recording.

Once you had that knowledge, did you prefer to use or abuse it?
JF: From our point of view, I would say use, but from the “proper” point of view, it’s definitely abusing.
?
JK: There were near-yelling matches; the engineer is a purist and we wanted to not be so by-the-book, even if it’s problematic… For example, mixing to a two-track, we wanted to use the boards to make a more rich pan across the stereo spectrum, but he’d say the pots are too scratchy or whatever rather than saying he didn’t want to do it because it’s not “right.” But sonically it was what we wanted, so that had to be stuff we’d attempt to do later on our computers.

Are the sounds predators or prey? Are they being chased or chasing things??
JF: I would say the sounds are prey. We try to control and repeat everything we do. When we create, whatever noise we add, we rein it in to a response we can use.

?JK: But every once in a while, there’s a jaguar on the tree branch, a surprise that hits us.

?JF: One jaguar that almost killed us was there’s this shitload of fucking crackle caused by faulty studio equipment. But at the same time, there was a lot utilized from these jams that was used for noises later. That’s where a random flash gets in, something you can’t repeat that’s for the record only.

Did this album ever feel like going against instinct in a way that was refreshing?
JF: With technical stuff we were all for it, but when it came to other things that seemed overly conservative, that was a big bummer. For certain things we had to remix more on our own later because we wanted to use sub-bass, but it was contrary to the engineer’s sensibilities.

Why sub-bass?
JF: It’s just something that separates modern music from older records. Sub-bass is a way to translate that feeling of experiencing someone live… through your ears and also through your body.

When did the process feel complete?
JK: I would say when we scrapped a lot and did it ourselves.
?JF: We didn’t want to mix on Jupiter’s laptop—it sounded much better on the studio gear—but some things got so messed up. So then our mastering guy filled in the blanks.
?
JK: He took the tracks and added grit and warmth to make the laptop sound like the studio. We used Logic for the [remix], to add the sub-bass, and I had some Yamaha HS50s and a subwoofer for monitoring, so that helped fill in a lot of shit.

Is there anything you enjoy about all the chaos?
JF: We love the feeling of chaos, but not actual chaos… that isn’t gratifying.

?JK: Our music is about creating the illusion of chaos, like everything is about to fly off the edge… but it’s all premeditated.
?

SIDEBAR
Pedal Files: A Healthy Helping of the Boys’ Gear Collection

In the main “studio”
• A 25-year-old-plus Neotek Console for adding aggressive edge to analog tape
• A tiny 50-year-old-plus, grenade box-like solid state amp originally used for dialog/effects playback on movie sets; great for close miking
• Logic 8 on a MacBook, for mixing and to isolate and add sub-bass to keyboards
• Yamaha HS50 monitors and HW10 subwoofer

Jake Duzsik
• Electro-Harmonix polyphonic octave generator
• DOD 250 overdrive preamp
• DigiTech RP300 pedal
• Foxrox Captain Coconut pedal box
• Maxon PH-350 rotary phaser

Jupiter Keyes
• ZVex Fuzz Factory pedal
• Line 6 DL4 pedal
• DOD FX75-B stereo flanger
• Moogerfooger MF-105 MuRF (“Multiple Resonance Filter Array”) effect pedal
• Behringer UP100 two-mode phaser
• Korg 707 FM synthesizer
• Dunlop Dimebag Darrell Signature wah pedal

John Famiglietti
• Boss RC-2 Loop Station
• Boss DD-5 digital delay
• SansAmp Bass Driver digital interface
• Lovetone Brown Source overdrive pedal
• Lovetone Wobulator
• Jersey Girl Plusdriver Boostable Fulltender overdrive pedal
• Behringer four-channel mixer
• Dunlop Crybaby Bass wah pedal
• Electro-Harmonix Micro polyphonic octave generator
• Electro-Harmonix Black Finger optical tube compressor

Shlohmo “Hot Box the Cockpit”

With a sound that brings to mind the more herky-jerky moments of Nosaj Thing’s productions and the vinyl-ripped ambiance prevalent in much of Flying Lotus’ material, “Hot Box the Cockpit” is an interesting piece of bass music from SF-via-LA beatsmith Shlohmo. A flutter of birdsong brings us into the track before a slow, arpeggiated synth swells up into clicking rhythms and a buzzing bass drop, sending the song off into the stratosphere. “Hot Box the Cockpit” is taken from the re-release of Shlohmo’s EP, Shlohmoshun, by the Friends of Friends label, which comes with additional remixes from Low Limit (of Lazer Sword), Tokimonsta, and devonwho, to name a few.

Shlohmoshun Deluxe is out Jan 12.

05 Hot Boxing The Cockpit

Anthony Collins “Another Lonely Night”

Seeing as how Anthony Collins was raised both stateside (NY) and overseas (France), it’s no surprise the prolific producer’s music embraces the kind of house and techno that both cultures have come to widely know and love. Now based in Paris, Collins has written “Another Lonely Night” for Belgian techno label Curle. The song is propelled by a classic house beat which ties together the delayed synth work, intermittent piano flourishes, and plaintive vocal loop—making something altogether familiar but nonetheless perfect for peak-of-the-night dance parties. He’s also released a video for the song, which you can check out here.

Another Lonely Night

Caspa Everybody’s Talking, Nobody’s Listening

Every micro-genre of UK dance music seems to require a producer either bold or foolish enough to step out of the madly 12”-driven scene with an LP—just think how many copies of New Forms sit forgotten on our shelves? For the “wobbly” school of bassy, oscillator-driven dubstep, the avatar is Caspa, perpetrator of forbidding, arid monoliths that crowbar open your skull with bass and wedge themselves in to stay. The slow, irresistible march of “Marmite” and “Riot Powder” could power dank club soundsystems by themselves, but it’s self-conscious stabs at range, like the incongruously Auto-Tuned R&B “Lon-Don City,” that sap Caspa’s raw power.

SF’s Tormenta Tropical Celebrates Two Years This Saturday

San Francisco’s premiere global beats party night, Tormenta Tropical, is celebrating its second anniversary this Saturday at the Elbo Room. The club, put on by Bersa Discos label-heads Disco Shawn (a.k.a. XLR8R Managing Editor Shawn Reynaldo) and Oro11, is a mainstay in SF for those looking for choice cumbia, dancehall, and electro tracks to get down to. This special edition of Tormenta Tropical features two of Bersa Discos’ most interesting DJ/producers, DJ Panik from Texas and NY’s Uproot Andy (who was just featured in XLR8R‘s year-end issue). Check out the flier for this weekend’s event below.

Podcast 115: Starkey and Dev79’s Philly Mix

Over the past month, our ongoing City Guide podcast series has been digging into the underground sounds of some of our favorite cities. This week’s edition comes courtesy of Philly street-bass kingpins and Seclusiasis/Slit Jockey label heads Starkey and Dev79, who split this hour-long mix down the middle and stuff their respective halves with gritty hip-hop, heavy bass, grimey dubstep, and plenty of unreleased Philly jawns. From Will Smith and Schoolly D to DJ Sega and Beanie Sigel, these boys prove that the City of Brotherly Love is no musical slouch.

Starkey in the Mix
Neeko “Ill State of Mind ft. Deana Marie (Fluff’s Re-Master)”
Si Young “Fire” (Seclusiasis)
Raffertie “Antisocial (Toast Remix)” (Seclusiasis)
Small Professor “Phantom Menace” (Seclusiasis)
El Carnicero ft. Cee Knowledge & Kai Chi “Live From the Butcher Shop” (Seclusiasis)
Rx “Get Stupid”
Emynd “Hangin’ On” (Crossfaded Bacon)
Starkey “Knob Twiddler” (Planet Mu/Serato)
Jay-Z, DMX, Beanie Sigel, Memphis Bleek “More Money, More Cash, More Hoes” (Jive)
SDUK “Clunge” (Slit Jockey)
BD1982 “Space Boots (Slugabed Remix)” (Seclusiasis)
Starkey “Starkvillain” (Seclusiasis)
DZ “What You Won’t Do For Love (VIP)” (Slit Jockey)
Buddy Leezle “I Left My Heart in Philadelphia (Starkey Remix)” (Seclusiasis)

Dev79 in the Mix
Dev79 “Live n Die 4 the Street Bass” (On the Brink)
Dev79 “Live n Die 4 the Street Bass (B. Rich Remix)” (On the Brink)
Sandman “So Cold Philly” (C.A.N.N.O.N.S. Inc.)
Rx “Jusyanutz” (Seclusiasis)
Dev79 “Get It G” (Seclusiasis)
The Angel “Kush (Down Jones Remix)” (Super Crucial)
Twista ft. Erika Shevon “Wetter (Dr.Ew & John Bean Remix)”
CLP ft. Tunde Olaniran “Superconfidential (Nic Sarno Remix)” (Sugarcane)
BD1982 “If Your Girl Only Wahm” (Seclusiasis)
Dev79 “Party Heavy” (Seclusiasis)
DJ Sega “Back It Up”
Dev79 “In Grain We Trust” (Vicious Pop)
Major Lazer ft. Vybz Kartel “Pon De Floor (Nate Day Remix)” (Mad Decent)
Starkey ft. Badness “OK Luv (Dev79 Remix)” (Planet Mu)
Pacheko “Lockdown (6Blocc Refix)” (Seclusiasis)
Schoolly D “Pussy Ain’t Nothing (Egyptrixx Remix)”
Will Smith “Fresh Prince of Bel-Air (Mustard Pimp Remix)”

Download MP3
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XLR8R_Podcast_Starkey_Dev79_2009_12_10

Skinnerbox “King of Diamonds”

Creating space techno from a jazz perspective is not a common approach, but somehow the duo of Skinnerbox manage to do just that on “King of Diamonds,” utilizing a 7/8 time signature, harp-like synth arpeggiations, some weird acid squelch, and a warm Moog-driven melody. Though the track’s sound is certainly of the present, it does share some lovely similarities with old Mr. Fingers workouts and more meditative Detroit tracks of the 1990s. If this is the future of techno, then we have a lot to look forward to!

05 King Of Diamonds

Fort Knox Five “What Make Ya Dance feat. Rootz (Kraak & Smaak’s Dutch Oven Remix)”

To commemorate their recent tour together, Washington DC’s Fort Knox Five and Dutch trio Kraak & Smaak have worked out a remix swap—each group taking a stab at one of the other’s tracks. For Kraak & Smaak’s reinterpretation, they tweaked and twisted “What Make Ya Dance feat. Rootz,” a song that originally sounded something like a contemporary “Low Rider.” Here, pilfering only a horn loop and Rootz’s vocal track, the song is turned into a classic rave-up chock full of skronking basslines, punchy breakbeats, and sinister synth melodies.

What Make Ya Dance feat. Rootz (Kraak & Smaak’s Dutch Oven Remix)

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