Ein neues Label aus Hamburg, betrieben von Phil Dairmount, das sich dem großen House-Erbe der Stadt verpflichtet fühlt. Allerdings nicht dem Erbe das schnell als „zu schwul“ in Form von Vocal House mit fahlem Pomp und schwachen Songs zur Zielscheibe des sich formierenden Techno-Gegenlagers wurde. Vielmehr geht es um die Zeit als alles House war, und Techno nur eine weitere Variante davon. Und nun wo die in langjähriger Abgrenzungsarbeit errichteten Kategorisierungen wieder eingerissen werden, kann man diese Haltung wohl getrost als gutes Timing bezeichnen. Für den guten Zweck ließ sich dann auch der alte Besen Austin Bascom alias Abacus reaktivieren, dessen Großtaten auf Fragile, Prescription und Guidance sich hier mit „The Answer“ gut nachempfinden lassen. In Dunkelheit grabender House mit Botschaft, der langen Anlauf nimmt und dann alle Anwesenden im Club umrennt. Auch Sasse besinnt sich auf seine alten Tage und beschwingt mit sphärischem Acid, der alte und neue Traditionen an eine üppige Tafel setzt. Den Ausklang gibt Superbads schräges „Brethren“, das sich anhört als hätte Richie Hawtin einen übergebliebenen Fuse-Track aus dem Archiv mit einer Spielzeugmelodie versehen. Interessanter Einstand.
Terry Hall – Sense Stereolab – Miss Modular The La’s – There She Goes Elvis Costello & The Attractions – Opportunity Superpanzer – Geheimer Star The The – Heartland Spandau Ballet – I’ll Fly For You The Waterboys – The Whole Of The Moon Lewis Taylor – Say I Love You XTC – The Loving Tears For Fears – Sowing The Seeds Of Love Tex & Erobique – People Of A Destimate Prefab Sprout – Electric Guitars Jack Peñate – Every Glance Tuxedomoon – In A Manner Of Speaking John Cale – I Keep A Close Watch Glenn Gregory – Perfect Day The Monochrome Set – Goodbye Joe David Sylvian – The Ink In The Well It’s Immaterial – The Better Idea Thomas Dolby – I Scare Myself The Special AKA – Racist Friend The Beat – Drowning UB40 – The Earth Dies Screaming Carmel – I’m Not Afraid Of You Matt Bianco – More Than I Can Bear Human League – Louise Pet Shop Boys – Hey Headmaster Osymyso – Fiver To Bigwig Saint Etienne – Hobart Paving The Style Council – Changing Of The Guard Robert Wyatt – At Last I Am Free
Gun Club – Sex Beat Buzzcocks – What Do I Get? The Messerschmitt Twins – Sleeping With The Radio On Joe Jackson – Steppin’ Out Thrash! – Time Will Tell Madness – Sign Of The Times The Divine Comedy – Your Daddy’s Car The Cure – Close To Me The Alljacks – Guilty Makin’ Time – Scarlet Sky Haircut One Hundred – Fantastic Day Aztec Camera – All I Need Is Everything Propaganda – Duel Veronika Fischer – Dann Ist Liebe Ein Teufelskreis Pulp – My Legendary Girlfriend Culture Club – Church Of The Poison Mind Fehlfarben – Tag Und Nacht Dexy’s Midnight Runners – Plan B / I’ll Show You Richard Ashcroft – A Song For The Lovers Blumfeld – In Der Wirklichkeit The Smiths – Stop Me If You Think You’ve Heard This One Before The Go-Betweens – Head Full Of Steam Julian Cope – Bill Drummond Said The Chrysanthemums – Bullshit The Prisoners – Whenever I’m Gone Mission Of Burma – Dirt That Petrol Emotion – Can’t Stop The Wedding Present – My Favourite Dress The Undertones – Teenage Kicks Orange Juice – Felicity Phoenix – Too Young Commercial Breakup – Holding On Everything But The Girl – Each And Every One The Clash – Lover’s Rock
Mix with some record purchases du jour, ranging between techno and house.
Santiago Salazar – Arcade Scuba – Ruptured (Surgeon Remix) Sound Stream – “Live” Goes On Equalized – Equalized 002 Raudive – Khaki Future Funk – Rhythm DJ Qu – Somethin’ Ta Feel Levon Vincent – Early Reflections Wireman – Armour André Lodemann Feat. Nathalie Claude – Searchin’ Portable – Release Quarion – A Night At The Zukunft Basic Soul Unit – Dank V.A. – Music Institute Anniversary Pt. 1 Track A2 International Pony – Bubble In The Bottle (Pépé Bradock RMX) DJ Sprinkles – The Occasional Feel-Good
> Backroom Productions – Definition Of A Track ( New York Underground Records) 1988
A rare tune from 1987. Indeed nothing but a track.
I knew this from the vinyl edition of the DJ-Kicks by Terranova. At that time it fit right in with what they were trying to represent with that compilation. I used to play this track regularly back then, it was very good for warming up.
So you actually know this for quite some time then.
Yeah, of course! I was not into Terranova that much, but the compilation had some brilliant tracks on it. East Flatbush Project and such.
This has some kind of Hip Hop vibe to it, too. But it does not exactly sound like 1988.
No, and I didn’t know that (laughs).
Would you still play it?
Definitely. I don’t know when and for what occasion but it is a class track.
It somehow reminds me of the bonus beats they used to have on the flipside of old House records.
Yeah, but bonus beats have gone out of fashion a bit, apart from Hip Hop. Argy had some for that Sydenham track “Ebian” on Ibadan last year. But I think it is not really relevant anymore for the current generation of House producers.
The percussive elements really distinguish the sound of that era from today’s productions. Lots of handclaps, or here it’s rimshots.
My problem is that I don’t really like all these percussion sounds from drum machines. I prefer sampled real instruments. This is probably some classic Roland drum machine, like a 606. I would take the bassdrum and hi-hats from somewhere else. The toms of these old machines are always cool, but the bongo sounds for example are not for me. I wouldn’t use that for my productions. I couldn’t do these 100 % authentic references. I think it’s supercool to listen to in a Prosumer record for example, but I couldn’t do that.
You got qualms about doing something like that?
No (laughs)! I’m just working on a new track for which I sampled an old Amen-break. I don’t care, if I like it I use it. This kind of break is in 90 % of all Drum and Bass tracks and nobody cares, so I don’t care either.
> Phortune – Unity (Jack Trax) 1988
This is an old track by DJ Pierre, from his Acid House days. But it is different to most tracks he produced back then. It is pretty deep.
It’s great. Awesome vibe for 1988, I could listen to this all day. It doesn’t tranquilize my feet, it’s not boring, it’s perfectly right. And I would grin from ear to ear if I would hear this in a club.
Some of its sounds have aged really well.
I really like this. I think it’s a pity that there are not so many tracks with great basslines at the moment. There are a lot of simple, functional basslines without much of a melody. Of course it’s effective and some current tracks need some of these dominating, functional elements, but a track like this for example needs a bit more, and I miss that. It’s also simple, but it has more and different harmonies. I like that, it gets me hooked. I would love to buy this on Beatport (laughs)!
Recent Comments