89 - Compost Black Label No. 98 [Compost]

Compost Records have dropped another of their solid Black Label releases, this time with contributions from more label newcomers Liquid Phonk and Sello. The previous compilation (CBL #94) saw the label assemble a varied 3 track release with a stand-out effort from Lukas Bohlender: Club Chateau’s delicately crafted melancholia glides soulfully with emotional strings, compelling bass and an end-of-the-line (or night) vibe. 

Keeping things eclectic, on the latest Compost excursion Liquid Phonk delivers what his pseudonym implies: Heart & Soul is a slice of warm deep house complete with an infectious and uplifting vocal to which the track owes its name. The flip sees Sello work a different mood, eschewing Heart & Soul’s feel-good tack for a cagier, heads-down affair: with Liquid Phonk’s rays of sunshine long gone, Sello’s Everyday broods away in darker climes.

Try and buy me here.

087 - PAMPA012

Die Voegel kicks things off on this pair of remixes from DJ Koze's own Pampa Records released at the tail of last year, with label founder's sought-after Mathew Herbert rework on the flip.

"My Orphaned Son" begins with an organic instrumental arrangement of soft horns, flutes and bells that melt away with the introduction of unhinged piano chords and warped vocals after the halfway mark. The track broods reservedly - dark blood pulsing through as opposed to drowning it - yet just when both mood and tension are at a peak the music is cut, more frustrating than tantalising. Despite drawing to a close too soon however, the rich sound palette and groove-ridden arrangement of this remix are near-faultless.

But Die Voegel's contribution to this 12" of remixes was always going to be eclipsed by Koze's much anticipated behemoth, no matter how pristene. In short: "It's Only" embodies haunting and mesmerising perfection. It's downtrodden not defeated, subtle and smooth; warmly triumphant at the drop but tragic in the vocals. Each sound complements the next effortlessly and necessarily, as though the slightest change would spoil this harmonic composition.

By the time the track draws to a close there's an air of finality that extends beyond the music's conclusion. Compared to Die Voegel's My Orphaned Son, where its abrupt end leaves a bitter taste behind, "It's Only" steals a piece of you with each play, tricking the listener into coming back for more.

Ultimately it's refreshing to hear that for a man with an unpredictable strike rate when it comes to his productions - capable of the masterful [Mariposa] and the questionable [Deine Reime Sind Schweine] - Koze's done it again.

Dntel - My Orphaned Son (Die Voegel remix)
Matthew Herbert - It's Only (DJ Koze remix)


Grab your digital copy of the Dntel / Herbert - Remix E.P. here.

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.

068 - Hugg & Pepp

Happy Belgian House taken from Red D's latest RA mix.

Hugg & Pepp - Tuba

064 - Maya Jane Coles

These two are taken from Maya Jane Coles' Bubbler  EP. The title track bounces along without going anywhere, never really moving toward a crescendo.  Although the lack of climax may disappoint, it forms part of the tracks strength and appeal. Instead of climbing mountains or raising intensity, Bubbler  remains comfortable where it is: on an already-lively house dancefloor.

Second up is Nowhere, similar to Bubbler but with an increased vocal presence. The lyrics are provided by Maya Jane herself, with just cause: her sultry voice delivers a catchy hook ("nowhere to go, there's no place for me, I don't fit in here, I just don't feel free") as well as any house queen might.  The lightness and vibrance of both tracks mean this EP is ideal for maintining the positive mood of a party - without losing its energy.

Maya Jane Coles - Bubbler

Maya Jane Coles - Nowhere

060 - Ital

The base of this track is a little murky, drunken, dark. Over the top is a much more sober counterpart, the both almost at war with one another. It glides along nicely, captivating as its direction shifts yet maintains a coherent narrative throughout. The darker side of chilled.

Ital - Culture Clubs

44 - Pryda

Until recently, I have never had a pounding electronic song bring a tear to my eye and force me to well up. This swallowed me up, pulled me deep down into the pits of despair and had me yearning for younger years. Sheer heartache. Real tears.

Pryda - Muranyi

43 - Marc Romboy Vs. Blake Baxter / Kink

Vocals are notoriously difficult to get right in electronic music. Too often, they fall into the realm of the absurd. House is plagued by tracks whose vocal supplements undermine instrumental decency. With the words: "let yourself go" opening the track and "you know its all about the music, that feel-good music" following them, this track certainly comes close to cliche - yet somehow manages to meander past it.

It marches and gathers momentum as its syncopated beat progresses. Post-intro, it is reliant on the two notes at the end of its melodic phrase to keep it in motion. It has 4 discernible segments, that clearly define the track as one of sustained development. The original nature of some of the cues - slurry, buzzing notes introducing the hi-hats - help keep this track fresh, despite countless listens.

Marc Romboy Vs. Blake Baxter - Muzik (Kink 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)