June 27, 2007

Andomat 3000 and Jan - L Delay


About eight months ago, I had this to say about Andomat 3000 and Jan’s “big hit”:

“Entr’acte Music has got a grinding, slightly big-room and (dare I say) ‘tribal’ feel to it. It’s a little staid, but very effective.”

I think I was half right, as usual. Hearing the track dropped in between Deetron’s “Life Soundtrack” and Len Faki’s “Mekong Delta” (see review here) on Radioslave’s recent (and decent) Misch Masch compilation made me “hear” it properly for the first time. Here was a track with ass and teeth whose housed-up signifiers could freshen the deadened beats of any crabby old techno monster.

So here they are again, back to do battle with boompty basslines against the unhoused (homeless?) creatures who inhabit the mnml microverse of Cadenza, a sub-sub-genre that a half-sympathetic DJ friend calls “martini microhouse”. If we’re gonna ride those cocktails, then, to wit, these puppies are in the process of shakin’, with a Cajmere sweater and hot pants toned down a shade for jaded Swiss eyes. There’s a heavily reverberated horn stab and a fulsome kick on “L Delay” that sounds like it’s been sampled from wadaiko drums it’s nice, it works. “Frost”, the B, takes a wiggly bassline and makes it roll to a clap, getting things rocking enough so when the congas want to get in on the action, the kick drums don’t mind. Toolish over time and sparse within space, “Frost” seems to want to do more, as if it was in search of a nice vocal. Maybe Green Velvet rapping about aliens or porno would do the trick? Anyway, the drums go boom, the kidz go aaah and if you’ve a troublesome vocal to mix out of, this rather plain track could save your fretting DJ ass.

Cadenza / CADENZA 15
[Peter Chambers]

June 22, 2007

Charts: June 22 2007

Mallory O’Donnell

The Nick Straker Band - The Nick Straker Band [Prelude]
William Strickland - An Electronic Visit to the Zoo and Sound Hypnosis [Spectrum]
Tiefschwarz - Black Music [Souvenir]
Ack By Panel - Base Filmtab EP [Greystate]
Bonde Do Role - Office Boy [Mad Decent]
Grand National - By The Time I Get Home… [Domino]
Third World - One More Time [Columbia]
Ricardo Villalobos - 1 Encuentro Latinoamericano de la Soledad [White]
Justice - D.A.N.C.E. [Ed Banger]
Bohemia - All The Way [Discos de Tinga]

Michael F. Gill

Alton Miller - Souls Like Mine (R2)
Canvas - The Cat (Rebelone)
Keith Worthy - shelovesmenot [Mental Deepstrumental] (Aesthetic Audio)
Syncom Data - Beyond The Stars (Legowelt Remix) (SD Records)
Paul Birken - Numbskull (Communique Records)
Studio - Radio Edit [Information]
Alicia Myers - I Want To Thank You [MCA]
Marek Bilinski - Po Drugiej Stronie Swiata [Polton/Digiton)
Wish feat. La-Rita Gaskin - Nice and Soft (Downtown Version) [Perspective Records]
Kat Mandu - Super Lady (Manhattan Formula)

March 28, 2007

After No Spank Rock Party, Its the Hotel Lobby (WMC, Night Three)

Well, I suppose we should have seen it coming.

Spank Rock & the Rub got cancelled at the last minute. Or, so they said. Instead of rapid-fire funk and ghetto breaks, our ears were assaulted with pumping house. We were informed by an extremely drunk employee of the Marlin that the last-minute DJ showcase thrown together and taped to the door in no-frills centered, black-on-white lettering was the Tampa Sound. Whatever constitutes the Tampa Sound, it sounded like shit to me, so we hoofed it over to see what else we could run into.

The Chelsea and Chesterfield were not really our scene, and I think I was on point of giving up, when Ross remembered the Whitelaw- now if we could only find it. A couple blocks and a question or two later and we did, full of crazy mothers and some actually goddamn decent house. Glasses guy certainly approved:

So we stayed and danced til 5 (it was a strict 5 to boot, they cut the power on that right on the top of the hour. I suppose their guests have to sleep sometime). While it lasted it was a sweaty (very sweaty) and fitting end to a half-weeks worth of revelry. J Phlip finished out the night with one of the best house sets Ive heard in a long long time- inventive, stylistically varied, and danceable as hell. As hard as I shook it this weekend, the Whitelaw was the funkiest. Even Ross busted out some P-Funk moves. Oh, did I mention that J (Jessica) Phlip is also absolutely gorgeous and totally my new DJ crush? Yeah, I did:

5 A.M. seemed to be the unofficial cutoff time for all the Hotel parties on the central side of South Beach, so we wandered around a bit more, discussing the whole crazy experience, made ourselves each a gin & juice, and slowly wound our way up Meridian to get some well-deserved rest.

[Mallory O’Donnell]

March 23, 2007

“Props, Our Outfits, Party Machines & Meat”

Last night’s Chromeo bash at Circa28 got off to a slow start, the bottom floor getting tighter and tighter while they waited an eternity to open the top floor. Luckily, we arrived about five minutes before the cutoff time for free admission. Some Snap!/”Party All the Time”/Dee-Lite typea jams were mixed together, apparently while wearing rubber mittens as both hipster and random weirdo body counts began to rise. Those two girls arrived fairly early, so at least someone was dancing. You know the two.

Luckily, insanity arrived early in the form of a red-haired girl wearing a home-made outfit that was not some much tasteless as beyond taste. As she and her polymorphous pervert friend set up their gear, Ross went over to take a shot and ask what we should expect.

“Some crazy shit.”


Truth in advertising, my friend. Finesse & Runway is the name, and they are in fact some crazy shit. My ears immediately perked up as I purchased the second and last drink of the evening (at $6 for a beer, we were paying about half of what the customary price would be later on), hearing heavy bursts of glam, synthpop and noise firing up together from the corner.

Finesse & Runway are a total performance act, quite down-to-earth and almost businesslike offstage. Onstage, it’s constant explosion time- drum machine and pedal-driven loops provide a constant whirring psychedelic casio tone poem imbued with the spirit of freestyle, Soft Cell, cabaret, Black Sabbath, stoner rock, Ween, avante-garde and disco-pop. Meanwhile, both Dino “Runway” Felipe (pictured above) and Melba “Finesse” Payes (pictured below) sing and play hand percussion- maraca and tambourine, respectively. And they both move. And not just hips, like with yer indie rockers. These people use their whole bodies. Living-room brawls, private cigarette soliloquoys and teenage girls singing along to Debbie Deb are suggested and just as quickly discarded as Finesse & Runway not so much perform as take over a corner of a club in order to assault you with a panorama of youth culture mashed up, cropped, screwed, whatever. So like, performance art with wack-ass awesome beats.


Whatever it was, it sounded completely new, leaving me feeling like I’d seen an early Stooges show or the like. But apparently, they’ve a three-year old album out, which we’re on the hunt for today. There’s also a decent interview here.

Figuring nothing else we’d hear there could top this, we headed downtown…


[Mallory O’Donnell]

July 28, 2006

Jean Jacques Perrey and Luke Vibert - Moog Acid


Never mind those voyages to the planets of rainbows and winged amazons that countless prog-bands heard from their Moog synthesizers. It is an instrument of dork camp, and synth-pop icon Jean Jacques Perrey will back me up on that. Perrey and IDM maven Luke Vibert previously made excellent comrades in “You Moog Me,” where their vintage 60s lounge-pop vacationed under a Martian sky lit with star showers and criss-crossing flying saucers. Their new excursions in acid techno sadly lacks some of the same spark. “Moog Acid 138″ is a decent, acid-techno treatment of carousel melodies that get overwhelmed by a blaring traffic jam of irritating synth yowls. The snappier “Moog Acid 133″ gets larded by too many abrupt synth wonks, garbled vocoder mutterings, and erratic turntable scratching. The remix by Jackson and His Computer Band thankfully gets the blood flowing: he slaps together an erratic, noisecore-meets-Billy Joel’s “Pressure” groove. Plastician’s remix strips everything down to a steady rhythm that slaps both cheeks of the face, while traces of the original Moog track buzzes like a mosquito caught in the ear. Now that’s a fitting tribute to the legend of Perrey.

LoEB / LOEB 001

[Cameron Macdonald]

June 16, 2006

Movement/DEMF 2006


as reported by enemy.combatant

A quick history: The Detroit Electronic Music Festival was first held in 2000 following a concept that was developed by Carl Craig and Derrick May. This event is the pinnacle for Detroit in the watchful eyes of the global electronic community. DEMF represents Detroits selection and taste, or at least that was its intention in the past. It has been an event that was initially looked at with esteem and pride, and represented a lot of things to many different Detroit artists involved in its creation. However, since shortly after its inception as the largest free electronic music festival, it has become a clusterfuck of corporate-endorsed sponsorship and control.I was ecstatic to have been given the opportunity to cover this event, not only because this was so important to the electronic music community of Detroit, but because a new organization was stepping up to the plate because they did not want to see the City of Detroit lose out on such a great opportunity. I respected this ethical statement, and now not only did I want to cover this event, but I wanted to make sure it succeeded. I really thought that with those words spoken, new DEMF promoters Paxahau would hold themselves up to a different standard than past promoters, and might even bring the festival back to its roots of free admission, so all the people of Detroit could enjoy the electronic music that we have come to know and love. I know some members of Paxahau personally, and had extremely high hopes that this event would receive proper representation. I even immediately contacted one of my buddies who DJd for Paxahau at various events and asked him how I could help out. He told me to send my info to an e-mail address, and that they would be making volunteer lists at a later date. Since this was two-plus months prior to the traditionally scheduled festival opening day, I really had no worriesuntil the third week began to approach the second week and I still had no information from Paxahau regarding volunteer lists, schedules, duties; no media information; and not even a final roster, let alone a schedule with set times on it. I was starting to worry.

I finally received word that there would be a volunteer sign-up being conducted at Hart Plaza on May 13, 2006. I made it down to Detroit with extra volunteers to boot, and was not going to let the fact that it was pouring freezing rain, there was no parking or validation, or that I had just traveled an hour to an hour an a half for a mandatory pre-meeting for volunteers affect my attitude or mood in any way. I knew Paxahau would be grateful that I had come all the way from where I was traveling from in the terrible weather conditions Michigan was having at that time, and that I would probably receive all the information and things that couldnt be sent over the internet such as shirts, badges, etc. I arrived and went down the steps of Hart Plaza to the Underground Stage. There were 100+ people assembled near the Underground Stage, but it was for a hip-hop presentation. Humorously, I remembered DEMF 2001-2002; giant Trinitron screens were plastered all over the festival grounds that year that were constantly displaying a loop of Eminem walking down Woodward Ave. rapping, Its over / Nobody listens to techno.After proceeding past this assembly, I saw the Paxahau Movement sign-up staff complete with a card table and two Paxahau members handling sign-ups, and a few people waiting to volunteer standing in line. I rubbed my eyes and squinted, and proceeded to ask the people in my party if they thought that it was the sign-up area ahead. We all agreed in a slightly strange way. I was the first in line of my party, and I waited for 30+ minutes before speaking to a Paxa-Rep even though there were only four people ahead of me. By the time I reached the card table I was happy that there were only a few people here for sign-up, but still hoped Eminem was dead wrong.I was asked what I do for a living, and in what areas I could help out. I explained that I am a studio engineer/musician. I was then asked if I would like to flyer. Puzzled, I also then explained that I would help out in any area, but that I was covering this event for a magazine, and needed to be able to move freely to cover the event. I was then told that I needed to write all this information down on a piece of paper (provided) and was told to give it to one of the two girls waiting at the card table a few feet away. At this point, I was asked for my ID, of which a digital pic was taken. With the organization level I was seeing so far, I immediately began worrying about identity theft. I then had a clipboard pushed in my direction with not so much as a hello or even a smile and was asked what shifts I could sign up for today. I explained once again, since the paper I had just written all this down on was not helping this individual, that I could work any shift or all shifts since I was expected to be there for the magazine anyway. I was then asked why I was even down here volunteering if this was the case. I explained that I thought I could help. I never got a response, only a shrug of the shoulders. I was then asked my T-shirt size, and was told I would receive one the day of the festival. I was then told in a very bossy way that I was expected to be ready to work every shift, and check in with my shift leaders for every shift. I was then told I could go, and didnt even get so much as a good-bye. I felt somewhat frustrated at this point. All I wanted was a little pat on the head or any kind of slightly friendly gesture. It really might have helped morale since two days later, I was sent a barrage of e-mails from Paxahau asking to volunteer for airport runs and record lugging since their valet service was not covering this anymore.

I arrived at about 11:15 AM on the first day. I would have made it there much earlier even though the festival didnt start until 12 noon, but there was no volunteer or media parking, and I had to lug all my equipment quite a long way, and absolutely no one I spoke to, including security, knew where the media entrance was, or the volunteer entrance for that matter. I finally found it, and immediately walked up to the press table. I was greeted by a sneering, short, bald man. I told him the magazine I was with, and he seemed to be looking me over a few times. I asked him if he needed to see my ID, since his assistant had walked over and whispered that someone else from Stylus had already checked in. Instead, he gave me a lanyard, and his assistant outfitted me with a yellow plastic wristband. I was then free to roam. I found it very interesting that I was not searched or that my identity was not checked in any way. Not that George W. was manning the decks this year for his N.W.O worldwide Uber-Freedom mix, but I thought that there would definitely be more attention paid to the safety of all artists attending this year.I checked in at the media center after taking 20-30 minutes to find it since, once again, nobody knew where anything was. The people at the press table said, Its downstairs, you cant miss it. I was finally helped by one of the filmmakers from the film High Tech Soul, who was very helpful and friendly. Once arriving at the media center, I saw the organization level did not exceed that of the volunteer situation. I was told that I could interview anyone I wanted, and that I should try to catch artists after they perform. (I later discovered this was quite challenging to do since most artists arrived right in time for their set, and disappeared shortly after.) I went upstairs to check in at the volunteer table, and ran into a friend and his wife who lived near me. He told me that he and his wife just each had been given two tickets to the min2max (named for the new comp on Richie Hawtins M-nus label) after-party that night, two tickets to the Perlon after-party tomorrow, two tickets to another after-party Monday, two 1-day passes for the festival, two 3-day passes for the festival, plus a bunch of T-shirts, and other items.I was immediately delighted, anticipating that finally I was going to see some appreciation from Paxahau. I might even receive more than the 12 after-party tickets and 8 festival tickets my friends just received since I brought three extra people down to volunteer for them. At least in my mind, and after I made it up to the volunteer table I saw that this was simply not the case. The person in charge of this table was right off the bat upset that I had a press pass. He immediately began questioning me and asking me why I was volunteering since I already had a free three-day pass into the festival. I explained I was just trying to help, but he looked about as clueless as he did originally when I made this exact same statement to him previously on the morning of volunteer sign-up. I was then asked what size shirt I needed. I didnt bother making a comment about why I was dragged here in freezing rain on volunteer sign-up morning and not asked that question then. I thought that end was already predetermined. I guess not. I received my shirt, and then stood there for a minute. This person then consulted with one of the previous volunteer sign-up girls who then came over to me and very snottily ordered me over to the Real Detroit stage to see if they needed any help. I walked off toward the Real Detroit Stage without a thank you, a good-bye, or a damn ticket. I knew I shouldnt be disappointed; my expectations of a reward were what was causing my disappointment, but instead I received a slight dose of what seemed to be the real spirit of the Movementa genuine Paxa-bowel Movement right on my head. I didnt feel so bad, though, because I volunteered for it.

I walked by the Real Detroit stage on the way to the Beatport stage. It could fit maybe 35-50 people in there comfortably. This stage was scaled down to about 20% of its size at past festivals. It was supposed to be the stage that represented real Detroit artists. I guess Paxahau thought only 35-50 people would care about about this stage and the Detroit artists; there seemed to be a lack of them this year.

I hit up the Beatport Stage where John Johr from Paxahau was opening. I stayed for about 30 minutes of it before leaving. His set was unemotional and uninspiring, and left me with no emotion other that the Amityville Horror slogan, GET OUT. Fellefell followed Johr up without missing a beat, literally picking up off Johrs closing record while it was still spinning and absolutely killing it. I did not leave this area until I had to take off for the Pyramid stage to check out Sean ONeal a.k.a Someone Else. I was going to break off for a quick second to see Ezekiel Honig , but knew that if I did, I would not be back to hear FelleFells closing, since Honig definitely has a way of mesmerizing his listeners.

They seemed to be having a lot of trouble with sound on this stage. I was hoping this would be cleared up, since Dan Bell was playing nextthe last time I had the pleasure of seeing him was at the last Paxahau party he played at (with Thomas Brinkmann) where the sound broke down at least three times while he was playing. They continued having problems with this stage through the next few sets. I checked out the beginning of Dan Bells set before making it back to the Beatport tent to peek in on Marc Houle. Marc Houle was really throwing down, and I did not want to leave, but my stomach told a different story so I gathered up some of my friends, and headed to Oslo, the local techno/sushi joint. (Oslo is a great spot. They have the best sushi in Detroit, and the best electronic musicians DJing and performing live in the basement bar. Highly recommended.)

I made it back to the festival in time to catch the beginning of James Holdens set. I was very happy about the extra time that seemed to be allotted to many of the DJs this year, who were playing two-hour sets or longer. I stayed for the first hour of Holdens set who hands-down represented why he is the CEO of Border Community, and why more people need to check that label out. At about five minutes until nine I made it to the Main Stage area to finally park it, and listen to the concrete stylings of Kooky Scientist (aka Fred Gianelli) followed by Robert Hood.

The sound was atrocious for this stage except for the main floor. I cannot see why they did not take more time with the acoustic design for this stage, since this would be the stage that most people remembered from the festival. My party ended up leaving about 20 minutes before the end of Hoods set toward the min2Max after-party to which I had tickets waiting at the door for me (via a friend). Hood would have been much better if he would have played in Kooky Scientists spot since Hoods set was not anywhere near that of an opening night closer. Everyone would have benefited by having the Cranky Scientist close the night because Giannelli was absolutely and completely on point.

Gaiser and Troy Pierce fucking leveled the Masonic Temple, of course, leaving no room for closer Hawtin, who seemed plagued with sound problems. Something to keep in mind, future Paxahau event attendeesthe price of a small can of pop or an even-smaller bottle of water jumps from $3 to $4 after 2 a.m. according to the Paxa-concessioner who sold them of a cooler in the coat room. I am not sure why the price of alcohol didnt go up, but maybe that concession was run by Budweiser. I was told that the price increase is customary, and is a standard practice at all Paxahau parties.

I didnt attend much this day since the only two people I wanted to see for that day were playing on different stages at the exact same timeNiko Marks and Mark Broom. I was really unsure about the J-Dilla tribute, even though it had a lot of top-notch performers taking the stage. I couldnt help wondering if this was just a cheap attempt by Paxahau to cash in on Jay-Dees death. Still, the tribute seemed as though it held the most promise for the day, other than a Planet of the Drums drum n bass set which were the major showcases for the day. But I was wrongafter leaving the festival, I headed down to Forans Irish Pub which was recently renovated and had been hosting a slew of off-the-cuff, slammin DJ sets of late. I had just seen DJ Psycho, an underdog from Flint, Michigan, throw down a wicked booty set the day before, and soon realized that for the next two days, this was the place to be. Especially if you werent fond of the blazing heat, which just seemed to get hotter and hotter since the tents this year had gotten smaller and smaller.

I couldnt wait for this day to start. It started slow, as I had to wait at the press gate for a new wristband. I had cut mine off the previous night, and was now being scolded by the sneering, short, bald guy. I asked him if they just expected me to sleep in it, and he remarked a rather loud, YES! It was at this point that I remarked that I was not told to keep my wristband. I was not a patient in a hospital or a prisoner at Guantanamo Bay, and I dont wear wristbands to sleep. I also remarked that I thought they would have changed colors on wristbands anyway for security purposes. He looked at me like I was crazy. I guess security is a pretty crazy concept for some people.Carl Craig was opening this day with a three-hour set. I couldnt believe this guy was going to play this festival again after his bad experiences in the past. True perseveranceCarl played an amazing set.I got a quick bite before making it over to the Beatport Stage where I watched Mikkel Metal perform, and spoke to him briefly afterwards. He was very happy to finally be invited to perform at the festival this year. I asked him what he thought about scheduling this year at the festival, including the fact that instead of spreading all the Kompakt artists out over the course of the weekend for maximum exposure and visibility, everybody was crammed into the Beatport tent on the final day. Mikkel rolled his eyes and chuckled. He explained he was not a promoter so he shouldnt say much about this, especially if he was expected to be invited back. He did, however, comment that most of the DJs and artists performing were doing after-parties to pay for expenses. I explained that I couldnt see one reason why anyone wasnt paid enough, considering how expensive single tickets and a three-day pass cost, as well as the extra 13% surcharge Paxahau was charging on all credit card orders. Mikkel chuckled once again, and explained that wasnt the problem with him, but he could see how it might be a problem with others.

I cut our little conversation short since I needed to be at the Real Detroit Stage to see Kill Memory Crash. Mikkel told me before leaving to be careful so I didnt get grouped in with the subversives. We both laughed, and I was off to Kill Memory Crash. I had missed the first 20 minutes of their performance, but the last 40 more than made up for it. I can honestly say I dont think there was a stage big enough for their sound, and for some reason they were placed in the smallest tent. Go figure.

After they finished I spoke briefly with Adam of Kill Memory Crash before heading over to the Main Stage to see Adam Beyer finish off his blazing set. Beyer was followed by Derrick May, who dropped classic after classic. I didnt stay for Mays whole set as I wanted to speak with Clark Warner, but realized upon entering the way-too-overcrowded Beatport tent that this just wasnt going to be possible. I stayed for the finish of his set, and the start of Mr. Jeremy P. Caulfields live performance, which was more than promising. Then I dashed out to see Nitzer Ebb, who where absolutely hammering down songs like there was no tomorrow. They were followed up by Richie Hawtin, who seemed much less plagued with sound problems this shake around.

It was sad to see this stage as packed as it was when other tents werent full. I can definitely see how scheduling here was completely mismanagedgoing on at the same time were the absolutely unreal performance from Kero (perhaps a couple hundred feet over in the Real Detroit tent), and one of the best DJ sets I have probably heard out of Frank Martiniq in the Beatport tent.

Overall, I had a good time at Movement: DEMF 2006. I got to see a lot of performers that I would not get the chance to see or speak with normally. But…I also think that it could have been promoted much, much better, and with three months of planning, there shouldnt have been the level of confusion and disorganization there was surrounding this event. The pre-flyering was not straightforward, and there were no times posted until the very last minute. I did like the schedule booklets being handled by REAL DETROIT WEEKLY, a very nice presentation with lots of important, pertinent info and minimal advertising. I didnt see the need for volunteers for the most part. If there was such a need, I didnt really see it used efficiently. I mean, why else would you place a qualified studio engineer to put up flyers?I can say, however, that I was disappointed by the size of the tents, and the lack of decent audio fidelity on all of the stages and tents. I felt that with the amount Paxahau was charging for a three-day pass (including a surcharge), the sound quality should have been top-notch and unmatched. Paxahau has been known for throwing great parties in the past, but the last few events have caused me to reassess my position on them. I wonder if theyre are losing touch with their roots, like Detroits own Eminem, who would never even have got a MC gig at the Motor Lounge if it wasnt for techno promoters. So Em, be glad some people still listen to techno. I was also very disappointed with the terrible scheduling, and the definite lack of Detroit artists. I just dont understand how you can throw a musical festival to benefit the city of Detroit without more musical representation from Detroit artists. I mean, CMON, how can you throw a electronic music festival for in Detroit without at least having someone from the Underground Resistance camp? And finally all I can say to the person handling scheduling this year is that next year it will work so much better if you take your head out your ass. Until next time…

May 5, 2006

Tiefschwarz feat. Tracey Thorn - Damage

Mallory ODonnell: When their mix-n-remixes comp Misch Masch came out last year, I was hugely pumped for a Tiefschwarz full-length. But Eat Books was a vastly underwhelming affair, and how we’ve gotten four singles deep into it is simply beyond me. The sub-Sarah McLachlanisms of “Damage” certainly provide no answer. Having mastered their variations on both deep and acid house, a new direction is clearly needed for the mighty brothers Schwarz. However, a combination of tepid elements from both styles and a rote Tracey Thorn vocal does not constitute breaking any new ground. The “Dub Mix” brings in some more interesting sonics, clattering drums and sinister echoes livening up the track, but then those accursed vocals drop back in and we’re back in the acid-house Starbucks. M.A.N.D.Y. bring both a vocal and dub mix to the plate, and guess which one I prefer? Sounding a bit horror for the disco and a bit dancey for the bug-out, we at last have something that twists the track into some interesting shapes, but not yet enough to entice the listener (if they’ve made it this far) to fork over their hard-earned Euros.

However: whoever or whatever the Mogg Man Band is, they have (besides a horrible name) redeemed this one from the trashpile. Concocting a live band backdrop, they take us from the coffee shop to the dancefloora warm, two-minute buildup, some plinky guitar and enough swaddling draped ’round the vocal to keep it from intruding. Then the beat drops and we focus on the one non-throwaway line”music is a lonely place”before heading into jam land. If I could get it on a single piece of black plastic with the “Buick Project Remix,” we’d have something. The last version here, it’s not really that radically different from the originalbut Buick Project seemed to have understood the brothers’ intent better than they didscuzzing up and tweaking out the mix a bit, they deliver a combination of diva house and spastic funk that actually sounds proper rather than forced.

Ronan Fitzgerald: So what do you do when youre stuck in the little gap between electrohouse and minimal? You hire other people who are more gracefully skipping through said gap to remix your single! Enter M.A.N.D.Y. with a typical M.A.N.D.Y. remix; that is to say, rather low key but decent quality deep electronic house, with a nice Garnier/Sanderson bassline. The truth is Tiefschwarzs own gothy, metallic dub outdoes M.A.N.D.Y, but sadly its only a little evocative of the days when Tiefschwarz outdid everybody. Elsewhere Buick Project and the Mogg Man Band continue the overly polite theme for this 12. You had one nice but overly retro deep houser; now have 5!

Fine. / FOR 82876835471
Fine. / FOR 82876835861

February 10, 2006

Bonde Do Role - Melo Do Tabaco


Brazil’s indigenous hip-hop form, known as baile,carioca, or just “funk” has received a bit of attention stateside thanks in good part to the efforts of Florida DJ Diplo. Appropriately enough, the first release on his Mad Decent label is a four-tracker from Bonde Do Role, two guys and a girl who make a slightly more accessible and pop-tastic version of Rio funk. The usual genre touchstones (Miami bass, 80’s hip-hop, American pop samples, Portugese rapping) apply, but so too does a willingness to expand the usual booty-fixated sound to something more universalthe title track samples Alice in Chains(!) and “Jabuticaba” is based on “Doo Wah Diddy,” for starters. Like feijoada, the communal festival dish of black beans cooked in various vegetables and “fifth quarter” meats, Bonde Do Role serve up something uniquely spicy and Brazilian from the discarded pieces of American pop music. Diplo’s remix, though a laudable attempt to pick up more of those pieces and refashion the original, feels sadly out of place. His channel-switching mix of Fruity Loops-gone mad and FM radio-clutter sweeping across distorted snatches of “Bonde Do Role” is pleasing in its component parts, but ends up a little too willfully experimental to challenge the raw joy of the original.

Mad Decent / 001
[Mallory ODonnell]