Pop it bad
I had all sorts of grand plans for the contents of this post, but suffice to say I'm bloody pissed and will be grateful if anyting I turn my attention to now finds its way to the questionable solidity of blog publication. Let's not fuck around here.
Those of you in the know will remember Richard Carnage's mythical transformation from Bristol indie doyen to Bristol electro-house authority; one of the tracks which accompanied/precipitated this transformation was the work of Ada (pictured left), Areal boss and purveyor of almost cartoonishly dirty, ravey electro. I love her most for the fabulous 'Our Love Never Dies' (featured on Erol Alkan's Bugged Out! Mix, not that it needed the validation...), but 'Arriba Amoeba' is the tune I'm concerned with right now...I hesitate for fear that I might sound patronizing, which isn't my intention at all, but I remember the night that Herr Carnage played this at TAPE, and more specifically the look of satisfaction which illuminated his face as he watched the sounds of clever, brutish electro-house send shockwaves through the dancefloor. It was a turning-point for the night, and, I sometimes grandly like to think, will be looked upon as a turning-point for music at large. So let's celebrate. It's a classic track, and a crowdpleaser in the most elevated sense. If you haven't heard it before, well, what a treat you have in store...
Ada - Arriba Amoeba // Areal
Just a note - I posted Ricardo's mix of Rhythm & Sound a couple of days ago. When I did this, I had yet to warm to the track but nonetheless praised it 'cos I knew it would bear fruit in the end. Well, tonight the fruit fell from the tree and smacked me right on the head. Returning home from a party several thousand sheets to the wind, riding the bus with the usual assortment of belligerent drunkards, miserable mothers and jaundiced janitors (yes, alliteration is prefiguring reality here..), when 'Let We Go' drifted onto my earphones. The walkman test has always been - and, I dare say, always will be - the acid test of good tuneage. If it pops up on your phones while your walking/driving/riding along and it sounds amazing but you don't know what is, then immortal status is more or less guaranteed. So it was with this Villalobos mix, the arrival of which suddenly made me feel less like a student who'd had a few too many drinks and more like a student who'd had a bit too much crack and a good few personal problems to boot. In a good way. A masterpiece of suspense and paranoia, you'd do well to download it below while you still can.
John Dahlback. His 2005 was, er, frantic to say the least. At the beginning of the year I barely knew he was alive; by the end I was starting to trip out and think that every single electro-house record in every record store in the world was by ol' JD. So he was perhaps a little over-prolific. But should we hold that against him? I mean, if I had the energy and skill to knock off so many tunes, I'd sure as hell do it, especially when record labels unknown and well-known are throwing cash at me to record for them. The only problem with the creative fecundity of the young man they call Hug is the apathy it inevitably induced in his audience (well, at any rate, me) - I just could not be arsed to wade through the piles and piles of records that bore his name and crowded the racks of my favourite stores over the long and (mainly) sweet duration of '05. Inevitably, the stand-out tracks for me were those that I could trust and buy immediately by association - i.e. those he put out on K2. 'Fluteorgie' was a fantastically subtle, moody track with sufficiently powerful low end and narcy effects to properly rinse a dancefloor (the last time I saw Mayer at Fabric he dropped it and I more or less wet my pants); 'The Angry Ghost' was the one that really caught fire, though - to the extent that of the 8 or so DJs who spun at Lazerboy's now legendary Club Neon NYE party, I think every one of them played it, whether aware of the repetition of not. Anyway, unable, or unwilling, to perfectly navigate the ludicrous and inconsistent deluge of Dahlback releases in the past year, a certain track by the pseudonymous Huggotron entirely escaped my noticed. Coming over like Tiefschwarz at their most brazen and dramatic, this track is dancefloor dynamite that's almost as embarassing as it is effective. The woosh that greets the first proper break is a moment and a half. I seem to remember Simon Rigg playing 'Pop it Bad' to great approval at TAPE's 1st Birthday Party, but I seem to remember' a lot of things from that night which didn't actually happen, so...I hope you enjoy.
Huggotron - Pop It Bad // Craft Music
I'm going to go, because I can barely see the screen anymore, and have foolishly supplemented my poteen consumption with 4 cups of tea and 20 Malted Milk choccy biscuits. This way nausea lies. Good night and, as they say, good luck.
Those of you in the know will remember Richard Carnage's mythical transformation from Bristol indie doyen to Bristol electro-house authority; one of the tracks which accompanied/precipitated this transformation was the work of Ada (pictured left), Areal boss and purveyor of almost cartoonishly dirty, ravey electro. I love her most for the fabulous 'Our Love Never Dies' (featured on Erol Alkan's Bugged Out! Mix, not that it needed the validation...), but 'Arriba Amoeba' is the tune I'm concerned with right now...I hesitate for fear that I might sound patronizing, which isn't my intention at all, but I remember the night that Herr Carnage played this at TAPE, and more specifically the look of satisfaction which illuminated his face as he watched the sounds of clever, brutish electro-house send shockwaves through the dancefloor. It was a turning-point for the night, and, I sometimes grandly like to think, will be looked upon as a turning-point for music at large. So let's celebrate. It's a classic track, and a crowdpleaser in the most elevated sense. If you haven't heard it before, well, what a treat you have in store...Ada - Arriba Amoeba // Areal
Just a note - I posted Ricardo's mix of Rhythm & Sound a couple of days ago. When I did this, I had yet to warm to the track but nonetheless praised it 'cos I knew it would bear fruit in the end. Well, tonight the fruit fell from the tree and smacked me right on the head. Returning home from a party several thousand sheets to the wind, riding the bus with the usual assortment of belligerent drunkards, miserable mothers and jaundiced janitors (yes, alliteration is prefiguring reality here..), when 'Let We Go' drifted onto my earphones. The walkman test has always been - and, I dare say, always will be - the acid test of good tuneage. If it pops up on your phones while your walking/driving/riding along and it sounds amazing but you don't know what is, then immortal status is more or less guaranteed. So it was with this Villalobos mix, the arrival of which suddenly made me feel less like a student who'd had a few too many drinks and more like a student who'd had a bit too much crack and a good few personal problems to boot. In a good way. A masterpiece of suspense and paranoia, you'd do well to download it below while you still can.
John Dahlback. His 2005 was, er, frantic to say the least. At the beginning of the year I barely knew he was alive; by the end I was starting to trip out and think that every single electro-house record in every record store in the world was by ol' JD. So he was perhaps a little over-prolific. But should we hold that against him? I mean, if I had the energy and skill to knock off so many tunes, I'd sure as hell do it, especially when record labels unknown and well-known are throwing cash at me to record for them. The only problem with the creative fecundity of the young man they call Hug is the apathy it inevitably induced in his audience (well, at any rate, me) - I just could not be arsed to wade through the piles and piles of records that bore his name and crowded the racks of my favourite stores over the long and (mainly) sweet duration of '05. Inevitably, the stand-out tracks for me were those that I could trust and buy immediately by association - i.e. those he put out on K2. 'Fluteorgie' was a fantastically subtle, moody track with sufficiently powerful low end and narcy effects to properly rinse a dancefloor (the last time I saw Mayer at Fabric he dropped it and I more or less wet my pants); 'The Angry Ghost' was the one that really caught fire, though - to the extent that of the 8 or so DJs who spun at Lazerboy's now legendary Club Neon NYE party, I think every one of them played it, whether aware of the repetition of not. Anyway, unable, or unwilling, to perfectly navigate the ludicrous and inconsistent deluge of Dahlback releases in the past year, a certain track by the pseudonymous Huggotron entirely escaped my noticed. Coming over like Tiefschwarz at their most brazen and dramatic, this track is dancefloor dynamite that's almost as embarassing as it is effective. The woosh that greets the first proper break is a moment and a half. I seem to remember Simon Rigg playing 'Pop it Bad' to great approval at TAPE's 1st Birthday Party, but I seem to remember' a lot of things from that night which didn't actually happen, so...I hope you enjoy.
Huggotron - Pop It Bad // Craft Music
I'm going to go, because I can barely see the screen anymore, and have foolishly supplemented my poteen consumption with 4 cups of tea and 20 Malted Milk choccy biscuits. This way nausea lies. Good night and, as they say, good luck.
posted by Blackest at 10:57 PM
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