Reccomended podcast: The Black Dog

In a music world where even the most reliable online sources impart more uninspired/-ing mixes than to the contrary, The Black Dog serve up some excellently selected/mixed definitely-Techno for Little White Earbud's latest here. Enjoy.

P.S. Listen out for Markus Sukut's offerings.

Tracklist:
01. The Black Dog, “Internal Collapse” [Dust Science]
02. Markus Suckut, “Path” [Figure]
03. Ucleden, “At Peace” (Live Mix) [Broque]
04. Murmur, “Rumah” (James Fox Remix) [Church]
05. Exium, “Massless Particle” [PoleGroup 16]
06. Cosmin TRG, “Defeated Hearts Club 1″ [50 Weapons]
07. Forward Strategy Group, “Code 3″ [Perc Trax]
08. Inland, “Solstice (Lost)” [Counterchange Recordings]
09. Markus Suckut, “Rigid” [Figure]
10. The Black Dog, “Pray Crash II” [Dust Science]
11. Stutter, “Rumah” (Apes & Seb Wildblood Remix) [Church]
12. Ucleden, “What We Are” [Broque]
13. The Third Man, “Double Dawn” [EPM Music]
14. Joran Van Pol, “Conscious” [M_nus]
15. Exium, “Nucleoid” [PoleGroup 16]
16. Diamond Version, “Get Yours” [Mute Artists Limited]

086 - Anthony Naples

New York's party-cum-label Mister Saturday Night start 2013 with a strong release from promising producer Anthony Naples: Moscato.


As soon as the murky intro's 8 bars are up Naples' hypnotic melody declares itself the centrepiece of the track, gliding through as it does with trance-inducing delicacy. Waves of intensity slide in at the touch of gentle yet full-bodied hi-hats, whilst the indiscernible vocal with a walk-on part hangs modestly in the background. As a whole the track feels like the playful, soft bite of a lover declaring intent, delivered with a hint of darkness.

There is nothing coy however about the flipside, launching immediately as it does into high-octane, uncompromised beat-driven furore. The same vocal sample from the A side is reused and craftily recontextualised here, serving to align the track more with the likes of Blawan than Naples' previous releases. Overall it's such an outright stomper of a B side that if heard in its natural ("big room") habitat it would be hard not to lose your mind to.


Anthony Naples - Moscato (Side A)
Anthony Naples - Moscato (Side B)


Get this on vinyl here.

083 - Bas Mooy

Something a bit harder for the early morning on this Amsterdammer's recent release.

Bas Mooy - Wesp

082 - Kolsch

Comforting journey techno from this Kompakt release.

076 - Thomalla

* A track marked by its intensity and variety *

There isn't much of an easing into this song: after 40 seconds a high-octane precedent is set whose tenacity is maintained for the next 6 minutes.The great thing about this track is that it manages to dip on numerous occasions, and every time it picks up again it reaches higher hights than before: the perfect way to sustain intensity. A personal highlight is circa 2:30 when the the track first really finds itself in full swing, capable of making anybody move. Yet again, it takes a step back soon thereafter, allowing  you to bathe in it - take a breath. the high hat skips it along so delicately - all the while there's a whistling sound in the back, lurking in the shadows. The high end dances and pings around giving the track its width. 

In one of the greater leaps of faith this track askes the listener to make, come 4:30, it just launches off into what can only be described as a life-or-death vortex of electrifying intensity that is sustained only breifly, only to dissipate. Yet at the break-down, there is no sign of the track wishing to say goodbye, despite it having reached its peak. Ultimately triumphant, defiantly uplifting. 

073 - Convextion

One of the more relaxed tracks from Convextion's eponymous album of 2006. In Venea, intense and unrelenting soundscapes are replaced with a simple ebb and flow that drives the track throughout:

062 - Stephen Beaupre

This is Journey Techno.

Stephen Beaupre - Gl'amour

048 - The MFA / Superpitcher

Superpitcher's remix of The Difference It Makes  emblematizes the sound associated with Cologne's Kompakt Records. Within techno's spectrum, the label could not have adopted an aesthetic more opposed to the industrialism of Ostgut Ton's. Instead of their dark and uncompromising tones, Kompakt favour light, warmth and accessibility. The self-confessed influence of pop - with a frequent presence of vocals and strong melodies - is as readily apparent here as it is on the influential Total  compilation series that showcases the imprint's latest productions. The track has an airy, ambient feel to it, caused primarily by the droney sound dwelling in the middle frequencies. Again characteristic is the length and direction of the track: in a progressive fashion, it meanders along gathering and losing momentum with sharp hi-hats and crisp kicks, integrated with devilishly organic smoothness.

When listening I cannot help but see clear skies and open natural spaces rushing by, perhaps viewed through a Rocky Mountaineer train window - hence the inclusion of this fitting artwork:

The MFA - The Difference It Makes (Superpitcher remix) - ( buy )

41 - Rone

Somnolent, arpeggiated chords eventually underpinned with subtle, driving basslines. Parisian producer Rone is back with a trio of inventive tracks in the lead-up to his forthcoming LP, released later this year.

Rone - Nakt

037 - Jarc Prongo

- Often played by Ben Klock -

The melody really steals the show in this track. It whirrs and reels, culminating in a serious, intense break; driven by a fierce clap; supported by a class, minimal vocal. The drop is two-fold: the hi-hat is re-introduced, followed by the broken return of the stomping kick. In all, a focused and energetic tour de force of the late 90s.

Jarc Prongo - Movin Thru Your System (Dave Clarke remix)

036 - DVS1

Ben Klock finished his set with this on Thursday. I'm not really sure what it is about this song that makes it so enjoyable: It's fairly repetitive and unadventurous, yet it's also quite calm and a little sad, too. Best heard when in motion.

DVS1 - Pressure

035 - Junior Boys

- A 'grower' -

Slow-burning, dark and moody; not aggressive. Sharp beat of spritely tempo, hypnotic arpeggiator; restrained use of vocals. Comprised of three sections, surprising tangents; long.

Junior Boys - Like a Child (Carl Craig Remix)

034 - James Ruskin

- "Go hard, or go home" -

A slice of good, old-fashioned Tech-No. Despite its intense exterior, it displays sophistication through the way in which the rhythm of the melody is chopped up, as well as in the alternation of its dynamics.

James Ruskin - Work (Steve Rachmad Remix)

031 - Robag Wruhme (Wuppdeckmischmampflow)

There's something pacifying about using playground sounds in music -  perhaps they subconsciously evoke memories of childhood. Heard near the beginning, they aid in setting a retrospective tone. The tempo and style of the melody place this track inside the living room more than anywhere, yet is still has ample movement, due largely to the shuffle  introduced at 1:20.  All together, the track is atmospheric and nostalgic; calm and calming.

Additionally, there's a nice mix of Four Tet's Angel Echoes ; and a slowed down, more relaxed version of Moderat's epic Rusty Nails.

P.S. The cover for this mix - inspired by Shed's Shedding The Past - is worth a look.

Rohbag Wruhme - Robellada

Four Tet - Angel Echoes

Moderat - Rusty Nails

024 - Sh*t Robot

Time has never been more valuable - we try to maximize it in moments of leisure by seeking as much amusement in as little time as possible. As such, when 21st Century artists exceed lengths standard to their medium - whether in film, literature or music - they run the risk of not having provided enough enjoyment per minute to satisfy their customer. Serge Santiago runs that risk with his ten minute long remix. I would say, however,  that it's worth every second. I can't work out whether the track is simply divided in half or the first 4 minutes serve as an intro - whatever it is, there are two distinct sections. The first is characterized by a tongue-in-cheek vocal line about the pains of modern living, with the second being dominated by a truly feel-good, borderline disco/house piano part.


Shit Robot - Simple Things (Serge Santiago remix)

022 - Pfirter

-Not for the faint-hearted.-

This track is just so dirty. It's also angry, broody, heavy and intense. It lives in darkness, where no life resides. The noise that comes in (0:54/5:04) sounds like Terror and Evils's fog-horn, announcing their arrival. Characteristic of this kind of techno, it's a long track, designed to move the dancefloor. The main drop (at 6:21, if you get that far) is like a giant ball of fire being released - full of energy.

P.S. The kick sounds like Satan's heartbeat.

Pfirter - The Dub Track (Len Faki Remix)

012.01 - Pantha Du Prince

Hearing this live was one of the best moments of my life: for an instant, everything was perfect. The whole track is so well crafted, but ultimately it's the strings that set it apart: when they fully arrive (2:40), I can't help but smile. Overall the track feels regenerative and reassuring, as if there is now hope where once there was none. In that sense it is positive and empowering, albeit in a modest way. I like how it persists, with one final drop two minutes before the end, before the horns lead us out. The strings and brass demonstrate how effective electronic artists' use of conventional instruments' sounds can be within an electronic context.

Pantha du Prince - Saturn Strobe

020 - The Field (From Here We Go Sublime)

The Field has a different approach to John Roberts (or  James Blake) with regard to how frequently sounds should be used. Whereas John & James value pauses and silence as devices almost as much as they do sound itself, moments of non-sound in The Field's work are hard to come by. Instead, he champions looping of the same sounds back-to-back, an uncommon take on the concept of repetition. The result is simply a constant wall of sound, placing the tracks in perpetual motion. His melodies are very basic, but his use of dynamics isn't: occasionally elements are thrust into the foreground through a shift in dynamics. For better or for worse, there's little variation on this album: formally it remains constant throughout. There is, however, enough variation in the sound-sets of the individual songs to make this an album worth listening to.

The Field - A Paw In My Face

The Field - The Little Heart Beats So Fast

014 - Burial & Four Tet

This track is the precursor to their most recent collaboration with Thom Yorke. I think it chugs along really nicely. Despite this, however, I find that sometimes it loses my attention, due in part to its length. It doesn't really go anywhere - or rather, it doesn't go far - but that's not necessarily a bad thing: not all tracks have to embark on some kind of journey. It wouldn't set any dancefloors alight, but would go down well at the end of a night. I like the jerky element of the melody coupled with the wispy vocal line characteristic of Burial. Most importantly, both artists have left their mark without overshadowing the other. Overall, a successful collaboration.

Burial & Four Tet - Moth

012 - DJ Koze

Some songs are attached indelibly to memories - rather, some memories are attached to songs. Although certain music is reminiscent of certain eras, instances wherein music-memory is strongest occur in moments of having heard particular songs for the first time. These memories seem seared into my oft forgetful brain.

I know I will simply never forget the first time I heard this song. That music can have such an effect proves its power. There's a whirring noise (introduced circa 2:35) that sounds as though it's caused by a wind tunnel, or the back window of a car being open whilst driving at night: the way it creeps out of the shadows to centre-stage is so smoothly executed: seamlessly, the other sounds - once predominant -  fade into insignificance, culminating in the listener's attention solely being focused on the whirr (3:44), lasting almost two minutes. There's a police siren (3:04), noteworthy for its singular use. Many of the sounds of the first half aren't present in the second. Note the rhythm of the hi-hat, introduced in the last minute of the song. Combined, the track exudes an inexplicability, resulting in something decidedly greater than the sum of its parts. It actually sounds sorrowful and sombre, but not defeated; melancholic, yet serene and calm.

This is hands down one of the best tracks I know - from any genre.

DJ Koze - Mariposa