Beatz By The Pound
#001: Eternal Optimism



welcome to the first standalone edition of the newly expanded Beatz By The Pound. For those unaware, this column started as an electronic music subsection of The Rubber Room in the middle of 2005, and was written (almost) solely by Todd Burns. For 2006, we have upped the ante, adding more writers, sections, and reviews to the column, all of which will focus on electronic dance music and the culture that surrounds it. For our first column we’ve got a review of Daniel Bell live, new releases by DJ T, Lindstrom, and Claro Intelecto, and an exclusive DJ mix by Nate De Young.


In Our House
[Inside Dance Culture]

It’s Sunday, January 23rd. There’s a ticking in my head. It’s been there for awhile, seemingly acting as a subconscious pulse that’s reliable when life can seem overly dramatic or overly boring. As I travel to and fro, the desire grows to give an external shell to this pulse, to share its energy with those around me. For those times when I am not surrounded by friends or people who care about me, the constant rhythm of house music is this outgrowth of my inner clock. Four on the floor: it’s the eternal optimist.

Where do these thoughts come from? I try not to interpret and deconstruct electronic dance music as if it were a riddle, I much prefer to work off the feelings it provides me and the reactions it provokes as a partial set of blueprints relating to who I am. These are things that I remind myself off as I get ready to see Daniel Bell spin over at the Phoenix Landing in Cambridge, Massachusetts. I feel when I go out I have this side of me that is very cerebral and knowing, wanting to slowly analyze the music and environment around me, as well as a side that’s very loose and loopy, letting the night just “happen” to me. It can be hard to let go of this brainy side when you are a music geek, easily charmed that an episode of Law & Order revolved around a person with the last name Speicher.



I arrive a bit late, but just in time to see Dan go on. He played a good set here last January that was mostly straight minimal techno, with a couple of vocal wildcards like Sexual Harassment’s “I Need A Freak” & Freaks’ “Turning Orange 2 Please U.” He’s even better tonight, diversifying things with snippets of minimal vocal house that act as brief respites from the more bangin’ techno tracks. It’s worth noting that since Bell avoids any sense of “melody” throughout the set, when the rippling acoustic guitars of Luciano’s Salif Keita remix come in at the very end of the set, it’s not only a refreshing shock, it’s almost out of character.

This brings me to a point I was discussing at the end of the night with local producer Mike Uzzi, who, after gently chiding me on my lack of knowledge about Stewart Walker’s Persona label, remarked how expansive and diverse Dan’s set was. That Mike was able to notice this is testament to how finely tuned his ears are, because during the best moments of Dan’s set, when I found myself really immersed and being carried by the music, my ears tend to tune out all the shifts from sub-genre to sub-genre, and enjoy the set as one large, level plane. I wonder how many people dancing around me were attuned to the subtle shifts in the music and how many were oblivious, and if there was any difference in each group’s level of enjoyment. Perhaps I should hand out written surveys at the end of the show alongside those people who hand out flyers to leaving clubgoers. Perhaps I am thinking about this too much. Hmm, I think so.

As I’m walking out, I have a chance to talk briefly with Dan, who is more laid-back and down-to-earth than you’d expect for someone who just threw down a few hours of obscure techno and funky pinpricks. In contrast, Fred Gianelli (another Boston-based techno producer) is standing next to us launching into an unprompted story about how his lesbian cousin saved his life by pulling him away from a horse that started attacking his head for no reason. While I’m really tired as I arrive home, I’m greeted by a comforting sound as I’m about to fall asleep: a pulsating ticking in my head.
[Michael F. Gill]


Spin Cycle
[New Music Reviews]

Featured Release
Jacek Sienkiewicz - Double Secret Life
Label/Catalog #: Recognition / 015
Release: December 2005

After last year’s excellent Six Feet Above 12”, this intriguing Polish producer hits the bullseye again with two long tracks that gel the loose fluidity of Latin microhouse with glances of Motor City introspection. Beyond that, Sienkiewicz’s tracks are low-key and unassuming, with a rare capacity for a gentleness that nests inside density and digital craftsmanship. These tracks end abruptly because it would be too self-conscious for them to announce that they are ending. Life can be so nervous: a resolution or cadence to any of our thoughts and actions may or may not ever come. In Sienkiewicz’s shy machines we find his uncertainty; in his tenderness, his humanity.
[Michael F. Gill]

Lindstrom vs. Riton - Monsteer b/w Young Girl
Label/Catalog #: Battle / 008
Release: December 2005

The French Battle label used to take the novel approach of having two artists produce a track and then remix one another. Although they’ve seemed to put this format on hold, there is no cause for tears as Lindstrom’s “Monsteer” is very much the sequel to “I Feel Space,” merging mid-tempo Italo-house with his love for trippy Kosmische synths. Although it isn’t as urgent as its predecessor, it would definitely add some levitation to an average electro-house set. On the flipside, Riton falls into his default mode of dirty electro with “Young Girl,” albeit with highly pitched down “stalker” vocals. It’s very similar to remixes that Justice and the Ed Banger label are releasing at the moment, although it lacks most of the momentum.
[Michael F. Gill]

The Shock – Manhattan
Label/Catalog #: Boxer / 035
Release: January 2006

The Shock teams up Ben Camp & George Bissen, an American and German ex-pat known mostly know for progressive house, for a guitar-heavy helping of electro-house that seems tailor-made for Ewan Pearson to play out during peak time. If you’ve heard Pearson’s Sci-Fi Hi-Fi mix cd, you have an idea what I’m talking about. If not, just note that I have a setting in my brain that triggers the word “Ewan Pearson” when I hear anthemic electro-house with big snares on 2 and 4. “Manhattan” is a bit of a shoddy rehash of Pearson’s own remix of “The Poisoner’s Diary” by Silicone Soul, but is redeemed by a great Einmusik remix on the b-side, which frames some guitar moans around a rhythm that easily moves back and forth from four-on-the-floor to schaffel.
[Michael F. Gill]

Omar-S – In Side My Head
Label/Catalog #: Fxhe / 010
Release: December 2005

Alex “Omar-S” Smith was extremely prolific in 2005, whether it was with his numerous releases on his own Fxhe label, or the two albums released by Oasis, his collaboration with Shadow Ray. “In Side My Head” is a one-sided release of dirty Detroit house that teases you with a distantly funky bassline and Rhodes-esque keyboards. While similar to the dusty sampling style of Theo Parrish or Moodymann, Smith is more of a punk in his juxtaposition, letting the beats over-dominate the track, never letting you get the full warmth of the melodies. Recommended for those who don’t get annoyed easily.
[Michael F. Gill]

Jonas Bering - Luna
Label/Catalog #: Less Iz More / 002
Release: December 2005

Even though it’s a pain to find on cd and often maligned as derivative, I thought Jonas Bering’s first album Beinfait was an interesting mid-section of Basic Channel vapor and Kompakt’s early dubby house. Considering he dropped most of the BC influence afterwards for a warmer, shinier, and often dancier style of dub-house, Luna is a bit of a switch up, offering up a rush of elegant Detroit Techno with a frantic oom-pah-oom-pah beat during the middle. Also on this free internet release are remixes by Bern and Ari Bau, the former testing the limits of my boredom with nine minutes of monophonic tech-house, the latter retaining the Detroit vibe but adding in some excellent free-jazz styles polyrhythm.
[Michael F. Gill]

Claro Intelecto – Warehouse Sessions Volume 1
Label/Catalog #: Modern Love / 020
Release: January 2006

Perhaps all the gushing blurbs he received at Boomkat.com were enough to convince Mark Stewart to bring his Claro Intelecto project over to Boomkat’s Modern Love label, as he releases his third 12” for the label this month. While failing to reach any of his previous highpoints, both sides are intended to showcase a more minimal, club ready, four-on-the-floor approach than Stewart is known for. Despite this objective, the atmosphere remains purely murky and gloomy throughout, and even a bit sluggish on “New Dawn,” which suggests that Stewart might need to get out a bit more. So it’s decent as a placeholder during a warm up set, but let’s hope Volume 2 has a bit more “oomph” to it.
[Michael F. Gill]

Digitalism – Zdarlight (Remixes)
Label/Catalog #: Kitsuné / 029
Release: January 2006

Kitsuné’s biggest hit of 2005 is repackaged and reissued here, with new versions remixed by Digitalism themselves. Where the original relied on anthemic clunk-funk (clunkiness that’s funky!) for charm, both of the mixes are impeccably smooth: the “Moonlight” version blurs the edges a bit too tasfeully, while the “Discodrome” version cruises down the highway as if new wave and French house were spawned from Moroder. Certainly it’s the latter version that commands all the attention here.
[Michael F. Gill]

Dub Kult – Twelve
Label/Catalog #: Traum / 068
Release: January 2006

Traum opens the year with a bang with this diverse and surprisingly funky release from London’s Neilon Pitamber, aka Dub Kult. Perhaps the release of Nôze’s “Kitchen” has opened a Herbert-sized door in the world of Triple R, as the middle cut “Chick” weaves in saxophone and jazz scatting as it flows from chilled to funky tech-house. It’s certainly the most ear-catching track here, but it’s supported by two other solid numbers: “Twelve,” a crunchy minimal banger with alienating vocals snippets, and “Slipping Away,” a welcome mix of ambient acoustics and a sensitive, yet intricate layer of downtempo drum programming.
[Michael F. Gill]

Funk D'Void & Phil Kieran - White Lice
Label/Catalog #: Soma / 188
Release: January 2006

The original version of “White Lice” is the type of brittle, tech-heavy minimal house that sends all the girls running away, stimulating only the most nerdy techno fans who have a circuit board dependency. Yes, I am being a bit facetious, but tracks like “White Lice” are a dime-a-dozen at the moment, even if the duo has an amusing compulsion for muted laser shots that nearly bring the track to a halt halfway through. Frenchman Lee Van Dowski (Mental Groove, Cadenza) weighs in with a better straight techno remix that wets the circuits just enough for you to get a sensation when you take a bite out of it.
[Michael F. Gill]

Jaumetic - Ziga Zaga
Label/Catalog #: Regular / 019
Released: January 2006

Jaumetic, label boss for the upcoming Spanish label Regular, might end up giving Lawrence a run for his tear-soaked money year with some more releases like this. “Ziga Ziga” is spacious, yet driving minimal techno that gives way to a dramatic synth wail that’s practically melodramatic in comparison to its surrounding. It might as well be a David Gilmour guitar solo. B-side “Perdida Sensible” has a bit more pop sensibility, with ringing synthetic guitars and gliding detached vocals, its gloom goes down easy.
[Michael F. Gill]

Mike & Dot - Eiderdown
Label/Catalog #: Sub Static / 052
Released: January 2006

Surrounded by feathers of glitch cutting into the rubber bassline of the title track, Mike and Dot sound precociously assured on their debut, almost frustratingly so. Don’t get me wrong, this is a perfectly fine record, and has some juicy slabs of minimal techno. But stuck in the groove spanning the single’s three tracks, there’s an overbearing sense of tastefulness that makes a song like the micro-minimal feel of “Brad Going Down” commendable yet difficult to love.
[Nate DeYoung]

Jonas Bering - Behind This Silence
Label/Catalog #: Kompakt / 132
Released: January 2006

Within Kompakt’s superstar-saturated stable, even prolific producers can get lost in the shuffle. Jonas Bering, the label’s sole Frenchy, is one such man. Though Bering has been a regular contributor to the outstanding Total series, as well as the creative-force behind two full-lengths of icy clicks and dubby atmospherics, his work neither receives the accolades nor garners the turntable-time afforded to the releases of his illustrious contemporaries. Perhaps it’s his style; in an imprint marked by its propensity for categorization—structured pop, dance floor techno, slack-joint schaffel and easy-listening ambient—(most of) the Frenchman’s subdued work exists in a state of sub-genre limbo that is all too easy to ignore.

Unfortunately, Monsieur Bering’s latest effort—the melodic Behind This Silence EP—won’t do much to improve his lot, but it’ll certainly make you happy he’s still hangin’ around. With its sweet, misty-eyed synths, the title track and 12” opener deftly balances on the brink of schmaltz before sinking into a dream-like fog. On the B-side, “Melanie” sounds like emotive trance king Robert Miles sacrificing the epic for the intimate, while “Missing’s” dainty, head-in-the-clouds textures belie the track’s wonderfully catchy bass beat of oscillating funk. A smart purchase for any DJ seeking a ray of sunlight to gleam through a micro-goth set’s shadowy belfry.
[James Jung]

Ellen Allien - Down Remixes
Label/Catalog #: Bpitch Control / 132
Released: January 2006

While no one ran with the Egyptian Lover-esque electro of the original, the remixes to Ellen Allien’s “Down” work well as leftfield techno pieces. Chilean producer Dinky chimes in with a timely rave aesthetic, using muted drum sounds and epic tweaks of the original melody. Taking a more atmospheric and celestial approach, Italy's Drama Society comes up with a dirtier, reverberated electro number that seems destined for the big club tables of someone like Ivan Smagghe. Coming from a completely different angle are Fuckaloop, consisting of members of French group TTC, who present a Parisian Mad Max approach to hip-hop: although his world might be destroyed, he is forced to try and salvage what's left using only a few broken pieces of techno. Having little of the same accessibility of the first two singles off of "Thrills," this 12" offers a much darker journey to the listener.
[Cameron Octigan]

DJ T – Ambush
Label/Catalog #: Get Physical / 038
Released: January 2006

The folks at Get Physical clearly don't like to make mistakes, as once again they have eschewed any kind of genre sound to pop out a solid release that should be enjoyed by minimal techno, deep house and electro camps, as well as those lucky few who choose to go camp-less. The A-side, "Ambush," is a nice enough offering, marrying 80's percussion with lovingly-layered bleeps and bloops. It's the kind of early-evening tune that doesn't offend, suggesting motion without detracting from the atmosphere of getting yourself worked up to dance. The real gem lies on the flipside, however. While not likely to be a prime-time bomb, “Stalker” is an outstanding bridge track with emotional weight, reminiscent of the finer moments of the Traum and Environ labels. An especially pleasing touch is added by the vibraphone-esque layer of notes that ripples through the last third of the song. Before "house music" meant obnoxious divas, interminable hard-house pumping or deep-house cliche, it sounded an awful lot like this.
[Mallory O’Donnell]

Mylo - Muscle Car (Remixes)
Label/Catalog #: Breastfed / 019
Released: January 2006

Sliding in at under four minutes, the original "Muscle Car" is a glammy electro stomper, complete with cheeky chorus ("well-oiled, that's what you are / come on and ride in my muscle car") and extra-silly alternate chorus ("Camaro, Chevelle, Camino, Daytona/ Trans Am, Mustang, Charger, GTO"). For the single release, we get eight versions (including the original and instrumental mix) spread across two 12" singles or together on one CD.

Tiga's involvement here should come as a surprise to no one - "Muscle Car" fits his sleazy style like a glove. His "Nightmare Chords Mix" mostly stretches the song into a more DJ mixable form, reducing the bump of the original and giving it some space to let those shimmering synths breathe. The "Freeform Reform" is little more than a touched-up version of the original (which is billed as "Mylo ft. Freeform Five") with added instruments and flourishes, but sacrificing its sheer, banging simplicity. The Sander Kleinenberg "Pace Car Mix" does even less, tarting up the original mix with a pointless racecar sample, perfect for the Mixmag year-end party but leaving the rest of us itching for the skip button.

On the more exceptional side, the remix all the sexy robots will be grooving to this winter comes courtesy of Alex Smoke, who skips on the deep-swirling synths and hops the bus straight to Jack Trax City, throwing down a version with a sexy yet hard-hitting feel. Sparse and FX-laden bits of the vocal come in and out of the mix, warming up the heavy tech treatment for less clinical dancefloors. Strangely, the only remixer who thinks to drop the vocals entirely is Justus Kohncke, the joker in Kompakt's deck of fifty-two. Emphasizing the understated background percussion and spiraling synth of the original and smoothing out the harder edges, Kohncke's "Workout Remix" is slowly shimmering deep disco-house that preserves the feel of the original while giving it a more pliable, universal framework.

While the Smoke and Kohncke versions are both outstanding, it is Get Physical's DJ T who combines both approaches for ultimate satisfaction. He opens by stripping the song down to a tight, libidinous pulse, drawing you to the floor with an "I Feel Love" vibe which you will be powerless to resist. By the time he drops the choppy clapping drums, you're wondering who this strange person in front of you is and how exactly it was you became fused at the groin. Keeping the vocals minimal and breaking it up into its component parts, DJ T reassembles "Muscle Car" into a late-night mix geared for heavy sweating on the dancefloor (with heavy petting hopefully to follow.)
[Mallory O’Donnell]

Drop the Lime – Shot Shot Hearts EP
Label/Catalog #: Tigerbeat6 / 130
Released: February 2006

Luca Venezia (Drop the Lime) made Attention Deficit Disorder sound sexy last year by shoving so many ideas, cartoon noises, and breakcore rhythms into each second of his joint, This Means Forever. He also showed off his pipes that were equally hardcore punk rant as well as a gristled call to art students to get jacked up on booze and “gangsta kultcha.” His latest EP, Shot Shot Hearts shows an abundance of ideas, along with emphasizing that the man can croon. Opener “Hometaker” slaps the listener’s face with gabber bass and splattergore beats with an equally discomforting swauve, R&B; synth melody that steps into the room midway through. The following “Get On It” is another rumbler with an acid-beat that oddly grooves as much as it bludgeons. Venezia then undergoes a refreshing transformation as a blue-eyed soulman who launches from his influences rather than imitate them, unlike an Englishman named Mr. Lidell. He delivers a boogeyman serenade in “Cold Hearts,” which is made more ghoulish with smooth, night sky synths and splintered beats that sound like a warehouse inhabited by squatters. Venezia finally lets his voice stand alone without any noise to distract listeners away in “Tonight,” an acapella number that might make millions of tweens fall in love with him, earn him riches and later earn him a five-minute segment in a VH1 Where Are They Now? special by 2016.
[Cameron Macdonald]

Kid606 - Done with the Scene EP
Label/Catalog #: Tigerbeat6 / 126
Released: January 2006

"Done with the Scene" is the song of an artist still trying to figure out what to do next. A droning, electro-pop synth melody first stares at the sunset while holding his chin with both hands. The song then grows more restless as a steady mid-tempo beat pushes the momentum with bits of guitar dropping in and a brazen Spaghetti Western-synth shouting out the melody. The song title suggests that Miguel Depedro is trying to move on after quitting his habit of being a yin-yang, either releasing records as a noisenik who smashes everything in a room with a whiffle bat or releasing Mother's Day presents of synth-pop. As to where he goes next, it's difficult to predict. The Done with the Scene EP gives some suggestions with remixes of a few tracks from his album Resilience as well as a cover of Annie's cult hit, "Heartbeat." In the latter, Depedro's treatment keeps its focus on the song's hook by smothering it with fuzzed-up shoegazer textures and scattered, mumbled vocals. It could've been much stronger without the odd synth screeches and the rather disjointed synching of everything. As for the remixes, post-rock stars Mogwai infuse "Down" with rawer energy by piercing the song with feedback and garbled beats, along with playing hide-and-seek with the melody. Bravecaptain places a cosmic glint to "Down" with cascading synth work and live, rolling beats that is all sublime until the band gets cute by singing the song title. Elsewhere, Her Space Holiday turns "Spanish Song" into a song that could play on an in-store video at The Gap, and Swedish post-techno maven Dwayne Sodaberk steals the show by radically mutating the melody from the gentle guitar ballad, "King of Harm" into a rampaging, post-punk dirge that resembles an Interpol b-side. Sodaberk's remix is brave as hell for risking utter failure—God knows what he would've done with "Heartbeat."
[Cameron Macdonald]


Reanimation
[Crate Digging & Reissues]



Universal Robot Band - Barely Breaking Even
Label/Catalog #: Moonglow / 103
Released: 1984

The rare conjunction of two of the finest producers in the underground disco scene, Leroy Burgess (Logg/Aleem/Black Ivory) and Patrick Adams (P & P Records, Cloud One,) "Barely Breaking Even" is an underground anthem still so resonant today that a label was named for it (the influential BBE Records.) Built around a propulsive walking bass, polyrhythmic hand-percussion, Chic-like guitar and one of Adams' infamous wonky synthesizer lines, it’s alternately throbbing and shuddering, exploding itself into a vibrant groove that seems almost too strange to dance to, yet cannot be resisted. Mercilessly funky during the instrumental intro alone, by the time Leroy Burgess breaks into his opening "Well, well, well" you feel struck by a lightning bolt. What carries it across a staggering eleven-plus minutes is the conjunction of Burgess' impassioned vocals and the insistent, wobbly funk of the instrumental.

The story that unfolds is one of economic hardship ("well, I just got my paycheck, and I'm on my way home/ between the rent and phone bills, it's nearly gone") and the desire to escape it ("Just barely breaking even/ I've got to get some for myself")—hardly unfamiliar territory in black music. But where we might hear the likes of a Young Jeezy casting about for reasons to justify their own avarice, "Barely Breaking Even" finds joy in the face of adversity: the struggle as evidence of life, rather than the struggle as means to the end of monetary gain ("but I just try to make it into another day / Long as the Lord is with me, I'll find a way.") Coupled with a groove that is uplifting to a spiritual degree, this is the kind of song that endures because it acknowledges and addresses the ever-present material difficulties of our lives with optimism and hope rather than blitheness, blame or despair.

Combining elements of disco, latin, boogie and R&B;, "Barely Breaking Even" is a great dance song, pure and simple. Musically, it's a perfect fit for today's DJs and artists exploring that fertile early 80's crossover period. Lyrically, it is wholly timeless—a gospel feel and a spirit of struggle in the face of economic challenges that surely haven't vanished in the two decades since it was first released. Currently still available (mixed and unmixed) on Dimitri from Paris' stellar Disco Forever set, Moonglow Records have also reissued it on vinyl, featuring the full original version and a slightly shorter instrumental edit.
[Mallory O’Donnell]

Todd Terry - The Todd Terry Trilogy: Past, Present, Future
Label/Catalog #: Ink / CD020
Released: December 2005

A very welcome three-cd retrospective of this seminal New York house producer, Trilogy not only includes an armful of late 80’s house classics, but 14 unreleased tracks and mixes that will be probably be of interest to any Todd Terry devotee. As the saying goes, you can’t really walk into a used record shop in New York City without tripping over a crate of Todd Terry records. Tim Lawrence’s liner notes nicely exclaim (which are conveniently reprinted here on Tim’s website,) how Terry became the primary producer who reinvigorated the NYC club scene during the gap after disco/electro-funk, and before established house labels like NuGroove and Strictly Rhythm began.

Instead of the raw programming, sequencers, and drum machines prevalent in techno/Chicago House, or the crafted songwriting of vocal-based garage house, Terry built his pieces nearly entirely from modified samples of current dance tracks. His basic template would be to take a simple hook—say the synth line from Maurice’s “This Is Acid”—as well as some drum snippets from producers like Arthur Russell and Marshall Jefferson, and then beef if it up as pure, aggressive party music. It was chopped up disco set to the street attitude of hip-hop, and while listening to the first mixed cd of this collection, it’s a deliriously exciting sound, one that rarely pauses to ponder if there is anything else to dance music than fun.

The unmixed second and third cds can grow a bit tiring and one-dimensional if listened through in one sitting, but barring a couple of ill-advised vocal tracks from the ‘90s, are still enjoyable. The unreleased tracks don’t deter too much from the hits, they actually blend in nicely thanks to a handful of them being alternate or unreleased remixes of Terry classics like “Bango” or “Can you Feel It.” There could’ve been some more information on where and when each track originated from, and it’s missing his definitive remix of Everything But The Girl’s “Missing,” but the fact remains that this is the most comprehensive Terry collection yet, and a suitable summation of what house sounded like in New York at the end of the ‘80s.
[Michael F. Gill]


Influx
[Links & Information]

The Cybernetic Broadcasting System, Part 1: The Top 100 Countdown

Run by the Dutch DJ/producer/robot lover I-F, The Cybernetic Broadcasting System (CBS) has been essential in reviving interest in italo-disco, spacey electro, and synth-heavy dance music this decade. Most people know I-F’s seminal mix Mixed Up In The Hague, which kick started interest in italo back in 2001, but not many are aware that Mixed Up is just one of over a hundred similarly-styled mixes hosted by The CBS. Not to mention the site also contains an informative forum and a 24/7 online radio station that plays anything from Chicago House to experimental electro to roller disco.

The next Beatz column will provide a rough guide to all of the CBS mixes, but today I’d like to briefly focus on The CBS Top 100, which has taken place around Christmas the past two years, and looks to becoming a yearly tradition. During this eleven-hour gargantuan show, I-F DJs his way through the top 100 hundred tracks of all time as voted by CBS listeners and forum members. As you can probably guess, the list is chock full of italo-disco (whether it be the detached cool of Charlie’s “Spacer Woman,” or the flamboyant uncool of Ken Laszlo’s “Hey Hey Guy”) and electro classics, with the odd freestyle (Nice & Wild’s “Diamond Girl”) and contemporary selection (Lindstrom’s “I Feel Space”) rounding things out. You can view the final top 100 list here, and perhaps more importantly to music geeks worldwide, you can download the entire countdown extravaganza from Bruce Heller’s Elektrosonik website here.
[Michael F. Gill]


Chart
[Playlists & Mixes]

In The Mix: Nate De Young

Following the release of a recent study done by the University of Leicester that found that digital music and downloading causes listener apathy, my Stylus colleague Nick Southall probably ran to the nearest soapbox to proclaim, Did you see what I wrote there? For the rest of us, this might not be an epiphany but it does cement the idea that “music burnout” probably won’t get easier any time soon. Especially within dance culture and the sheer volume of singles released each month, it’s practically ensured that apathy can be found on that next series of thump-thump-thump-thump minimal records—if you’re willing to seek it out.

So for my Beatz by the Pound mix, I decided to document my response to burn-out. That is, by limiting intake and squinting my ears as frequently as possible. Most of these tracks come from labels that found a spotlight or two in 2005 and are regulars to the Beatz by the Pound column—Areal, My Best Friend, Border Community. But if songs like Ada’s swinging 8-bit “I Love Asphalt” or Fairmont’s soothing “Gazelle” are any indication, then these labels definitely deserve some undivided attention now and again. As for squinting my ears, Motiivi’s “1939” and Tim Paris’ “Edges of Corrosion” have both forced me to consider how I hear music. Both Motiivi’s paradoxical “expansive claustrophobia” and the Paris’ endless series of melodic crevices question dichotomies that I presume steadfast far too often.

Tracklisting
Tim Paris “Edges of Corrosion” (Marketing Music)
Digitalism “ Zdarlight” (Kitsune)
Mateo & Ganteimi Meets Miss Anacoe “Danseur” (My Best Friend Ltd)
Motiivi “1939” (Freundinnen)
Ada “I Love Asphalt” (Areal)
Daso “Daybreak” (My Best Friend)
Fairmont “Gazelle” (Border Community)
DOWNLOAD


Guest Chart
Axel Willner, [The Field (Kompakt)]
Sleeparchive - Image Photometer
Mathew Jonson - Gemini
Jesse Somfay - This Fragile Addiction
Matias Aguayo - De Papel [Chantal C Remix]
Mike Ink - Live Evil
Kate Bush - Hounds of Love
Gas - Track #3 from Zauberberg
Ulf Lohmann - Burning Bright
Charlie - Spacer Woman
Split Inc. - How Deep Is Your Love

Mallory O’Donnell
Kelley Polar - The Rooms in My House Have Many Parties
The Next Movement - Let's Work it Out (Instrumental)
Farley Jackmaster Funk - As Always (Full Vocal Version)
Stacy Kidd ft. Matthew Yates - I Wanted You
Alexander O'Neal - Criticize
Captain Rapp - Bad Times (Pt.2)
The Juan Maclean - Give Me Every Little Thing (Putsch '79 Remix)
Mylo - Otto's Journey
Who Made Who - Space For Rent
Morane - Where's the Beach (Fall Out Version)
Lindstrom - I Feel Space
First Choice - Let No Man Put Asunder (Danny Krivit Re-edit)

Cameron Octigan
Dandy Jack and the Junction - Video Taceo
Lucien-N-Luciano - Alain Brito
Monne Automne - Mago
Konrad Black - Medusa Smile (Don't Look Back)
Hum - Why I Like The Robins
Can - Sing Swan Song
Daft Punk - Oh Yeah
Dntel - Anywhere Anyone
Lindstrom and Prins Thomas - Turkish Delight
Wighnomy Bros. - Wurz & Blosse
Busy P - Chop Suey
Crystal Castles – Caring

Michael F. Gill
Salif Keita – Yamore (Luciano Remix)
Todd Edwards – Like A Fire
Dub Kult – Chick
Sterling Void – It’s All Right
East West Connection – More I Get (Surgical Soul Mix)
Klaus Schulze – Floating
The S.O.S Band – Take Your Time (Do It Right)
Freeez – I.Dub.U
Doc Martin – Fabric 10
Armando – Venture Oui


By: Stylus Staff
Published on: 2006-01-27
Comments (2)
 

 
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