Posts Tagged ‘lobster theremin’

Catching up with the 2016’s – Part I

March 23, 2017

Grant – Cranks (Mörk/Lobster Theremin)

Hello faithul readers. I know, I know, I’m an absolute turd. You’ve been waiting over a year for this and that is entirely unacceptable. Excuse #1? I’m a lazy bag of shit. Excuse #2? Honestly, I got a bit tired of writing about music, but that doesn’t mean I slowed down on my audible consumption. Excuse #3? I’m working on a longer piece of writing, and so when I had snippets of time to write in between work and life, I chose that instead. Please forgive me.

So then, in a half-assed attempt to resuscitate this dying slice of digitalia, I shall write about one album each week that I really loved from last year, in my exciting new feature entitled “Catching up with the 2016’s”.

Which swiftly brings me to anonymous producer Grant’s second long-player Cranks. Highlighting a blend of 90’s UK dance music and lo-fi house, with a healthy dose of mood and atmospherics, Grant has released one of the strongest electronic albums of 2016. He’s very adept at quickly building up a song’s inherent pulse and rhythm, and then stripping it all away into a sort of pensive ambiance, before bringing the beat back into the mix again.

Grant immediately draws you into his world from the opening track “Mainstream Belief” and keeps you immersed until he finishes with the excellent “Frame Of Mind”. I feel like I’ve heard all the underlying synth lines, 808 licks, and female vocal hooks before in various drunken hazes of the past, and the effect it creates is one of introspection and nostalgia. This is closed-eyed dance music, where the hazy memories the music evokes is a big part of why it’s so damn effective.

Many of the songs more subdued moments create the same wistful feeling I had when listening to Endtroducing when I was in my early twenties. None of the music on Cranks really sounds like DJ Shadow, but during the quieter moments, my mind keeps returning to him. The closest reference point would be the mid-point of “Mutual Slump” on Endtroducing, when Shadow takes the beat away, allows the song to breathe and his listener to reflect, as the woman says: “I saw Xanadu and all I wanted to was rollerskate”, and then he kicks that beat back in and you’re like “Awwww yeah…”

Grant’s works in a similiar fashion (see “The Limit”), and it’s the restraint and patience that he consistently reveals in his music that makes it so good. That’s not to say that I think the 4/4 moments aren’t equally as strong, I’m just happy he’s skilled at playing to both parts of my psyche — the one stoned and lying on the couch, as well as, the one eternally on the dance floor.

The vocal sample Grant uses at the very start of the album sums it all up perfectly: “Dance music’s not just dance music anymore, it’s got a head now, you can sit down and listen to a lot of good creative albums … but you can still go out and dance and have some fun …” Check and check!

And man, ya gotta love that album cover! Expect more great music from Grant in 2017! See ya next week.

YP#2 – Route 8

September 17, 2015

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On the decks for the second installment of Young Producers is my man ROUTE 8…

Singlehandedly putting Budapest on the techno map, Gergely Szilveszter Horváth, who signs his productions as Route 8, creates spacey house and techno music that taps into a strong sense of nostalgia. Most of his jams are of the eyes closed, head bobbin’, foot tappin’ variety and play out just as well on the dancefloor as they do on the couch, even if his vibe is decidedly chill.

Horváth’s first releases came out courtesy of local Hungary, Budapest label, Farbwechsel, which gained him the attention of one of my current fave presses, Lobster Theremin, where he’s dropped his Dry Thoughts EP in 2014, and the even peppier This Raw Feeling EP that came out this spring. He’s also put out the more introspective and dubby Eleda EP on Berlin based Nous Records, another emerging label that has only released class act music from young and upcoming producers.

Route 8 records all of his tracks live and says that his live gigs are the main influence on his songwriting at the moment, and in an interview with Leisure Collective from 2014 he stated that when he first started playing shows he was always shocked when he saw people dancing to his music, but now it’s become his mission to get asses movin’ on the dancefloor as he tours around Europe and perfects his craft as a DJ and producer.

Horváth’s trajectory is only on the up and up and his music as Route 8 is definitely worth checking out. Peace. See ya next week.

YP#1 – Palms Trax

September 3, 2015

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Yeah, yeah, yeah, I know, I know … a deplorable output so far on INAUDIBLE this year. “What gives, man?” you may be wondering. Couldn’t tell ya, really. I just didn’t feel like writing about music for the last few months. But that doesn’t mean I haven’t been listening. In fact, I’ve been even more tuned in than ever…

So what I’m going to do to start things back up is a nouveau feature entitled Young Producers, or YP for short, in which I rep a fresh and exciting young musician each week. The criteria is simple: s/he must be no older than 25 and have yet to release a full-length album.

It’s bonkers how many amazing new talents are coming up in the scene and following in the footsteps of the legends that came before them. It’s a really great thing for electronic music.

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YP#1 – PALMS TRAX

First up on the decks then is my man Jay Donaldson aka Palms Trax. This young DJ and producer is based in Berlin and has released three excellent EP’s, Equation in 2013 and Forever in 2014, courtesy of Lobster Theremin, and most recently he put out the bangin’ In Gold on Dekmantel.

Palms Trax’s style seems rooted in Detroit house and techno, with warm pads and uber-melodic synths being his signature. Smooth drum patterns with a 4/4 thump, high hat clicks, and hand claps (my fave) round out his sound and ready it for the dance floor. He reminds me of Kassem Mosse when he’s at his most melodic, while some of his synth lines (most notably on In Gold) are reminiscent of some early Plastikman 909 licks.

And it’s all so good. With Equation and Forever, Palms Trax found his groove and with In Gold he just keeps raising the stakes even higher – the beats hit harder, the melodies are groovier, and his songwriting is stronger. His tracks almost play out like pop songs in their construction, as he doesn’t just build off a loop, but has proper hooks and changes in his tracks, which makes for a dynamic listening experience.

He also has a radio show called Cooking With Palms Trax on Berlin Community Radio where he plays his favourite jams from his extensive record collection. Check him out ASAP if you haven’t already! Cheers. See ya next week.