London Sinfonietta
Warp Works & Twentieth Century Masters
***1/2

After some classical music studies last summer in Europe, Garrett Ian Shatzer brings you up to speed with a new double-disc from Warp Records.

Let’s play a little name recognition game here: Aphex Twin, Conlon Nancarrow, John Cage, Steve Reich, Squarepusher, Karlheinz Stockhausen, Edgard Varese and Gyorgy Ligeti.

Most of you will recognize the names Aphex Twin and Squarepusher. Several more will recognize John Cage and Steve Reich. And while Stockhausen, Varese and Ligeti might register with a few others, I would wager that the vast majority of you will have to explore Wikipedia or Google to discover who Conlon Nancarrow is (present writer included).

In any case, those eight gentlemen are 20th century composers, and several of their pieces are featured on Warp Records’ new 2-CD release Warp Works & Twentieth Century Masters.

This record is quite different than anything Warp has released, but the most strikingly unique aspect is the absolute absence of electronic instruments in all of the works. Every track was performed by the London Sinfonietta under the baton of Stefan Asbury, and recorded live at a pair of concerts staged a year apart. While the pieces by Cage, Reich and the other “classical” composers (except Nancarrow) were performed as written, the works by Squarepusher and Aphex Twin were orchestrated and recomposed by Scottish composer David Horne, Brit Kenneth Hesketh (fellow University of Michigan alumnus!) and Fraser Trainer & Sound Intermedia (British duo David Sheppard and Ian Dearden). The resulting program is not a crossover of genres but more of a juxtaposition of two experimental fields. To fully understand the concept of this album, first understand the origins of these pioneering composers and how their respective styles came to be.

For hundreds of years, music was based in a tonal system. Back then, composers used melody, harmony, and basic rhythm in much the same way pop music does today. However, all of this changed in the early 20th century when Austrian composer Arnold Schoenberg decided that not all music had to be organized in this fashion. His new methods brought the age of atonal music upon us. From there, composers such as Pierre Boulez and Milton Babbitt became more liberal with their treatment of melody and harmony. Before long, the music was so complex that those terms could not even be used to describe it anymore.

In response-retaliation to this rise in complexity, John Cage and Steve Reich, amongst others, sought to approach and question music from a simpler perspective, albeit from two different angles. Cage was more interested in the compositional process than he was in the resulting sound. In some instances, he would literally assign note values to the sides of a pair of dice, roll them, and use the results to generate his music. Reich, on the other hand, was more interested in the aural experience than he was in making colossal strides in the compositional process. His pieces, much like Six Marimbas (featured on this album), offer little harmonic movement or motivic development. In other words, his music focuses on repetition. Ironically enough, this style proved to be a revolution in the world of composers, and along with fellow Americans Philip Glass and Terry Riley, Reich founded the minimalist movement in the 1960s.

Despite their different views of musical aesthetics, Reich and Cage were each driven to experiment within the realm of classical music in search of the fresh and bold. Thirty years or so later, Aphex Twin (Richard D. James) and Squarepusher (Tom Jenkinson) were exploring similar paths in their own genre: electronic dance music. Partly in response to the static four-to-the-floor beat that kids since the disco era have grown accustomed to hearing, these two musicians led a surge that aimed to make those simple beats more complex. This progression eventually led to tracks that could be labeled as nothing other than “experimental,” such as Aphex Twin’s brilliant Bucephalus Bouncing Ball. Together with several other outstanding artists (some of whom are also on Warp Records: Boards of Canada, Autechre, Prefuse73), they created a new genre of music that is commonly referred to as Intelligent Dance Music (IDM).

And there you have it: two groups of composers from different times who were striving to break free from the legacies of their predecessors. This is what inspired Warp Records and the London Sinfonietta to place these seemingly different works on the same concert series, and the result is over two hours of brilliantly executed orchestral music. Mr. Asbury’s ensemble faithfully captures the spirit of works by the classical composers throughout the entire program, giving us recordings that rival anything released on major classical labels. The versions of Aphex Twin’s and Squarepusher’s pieces presented here are dazzlingly successful renditions of their electronic counterparts, and to the average clubber, this record might persuade him or her to seek out other artists that similarly explore this aesthetic combination of classical and electronic music (Jeff Mills’ Blue Potential, Venetian Snares’ Rossz Csillag Alatt Született, etc.)

Warp Works & Twentieth Century Masters will undoubtedly expose fans of these two genres to several selected artists of the other, and with any luck we will see similar projects and collaborations in the future.

Review by: Garrett Ian Shatzer

Warp Works & Twentieth Century Masters is hit stores September 28th on Warp Records.

Please visit www.warprecords.com
www.londonsinfonietta.org.uk for more info.

Ministry of Sound Sessions
Cajmere vs Green Velvet (Ministry of Sound)
****1/2
Believe it or not, Curtis Jones has a lot in common with George Costanza. George uses cashmere to seduce unsuspecting cleaning women, while Curtis uses his Cajmere to bring the sexy back to Chicago house-friendly dancefloors. While Mr. Costanza dreams of being draped in velvet, Mr. Jones likes his velvet green, wrapping us in a dark, techy blanket. Curtis Jones (aka Cajmere, aka Green Velvet) is one of those rare artists who stylistically produces a variety of dance music, yet has a deeper understanding of the intricacies – and the type of music he is creating.  He’s one of those artists whose productions have, for the better part of the past decade, found their way into everyone’s boxes, from festival headliners to the cooler-than-thou underground DJ.  With “Sessions,” Jones gives equal billing to his multiple personalities, delivering a 2-CD mix. 
His Cajmere soulful-house infused set shows what happens when a preacher gets too close to a discoball. Vocal and jackin’, it’s pure Chicago with his frequent collaborators Dajae and Walter Phillips providing an uplifting vibe to the mix. Rather than parading out track after track of dance music’s current Top-10, Curtis uses some big tracks as tools to brilliant effect (“Safari,” “Front 2 Back”). With the Green Velvet mix, we are dragged foot-first into his murky world of thumping electro. Again, using big tracks as tools (AVH’s mix of “Spin Spin Sugar” over Soulwax) he displays his ability to make even his dark angle accessible.  It’s great to hear some of CAJ’s classics again. (I admit, I forgot how tremendous ‘Flash’ sounds).

By Tom Cesa

Cordovan
Highway 10 Blues

Posted date: August 2006

(Lunaticworks Jazz) Don’t expect a passive listen when you give “Highway” a whirl. Los Angeles based composer Greg Reeves weaves a fuzzy, unclear yet beautiful excursion into classical jazz and nu-jazz—a cut and paste pastiche full of droning horns, brassy trumpets and soothing saxes. Each instrumental combination delivers a dreamy, slow-moving picture in your head, making “Blues” perfect for lazy Sunday afternoons or a late night comedown.

Between the orchestral delivery (produced by live-musician MP3 file swaps over the internet between Los Angeles, San Francisco and New York City) and Miles Davis inspired themes are soothing ambient washes, which conceals what comes next. The ‘80s TV score styling of “Mesa” continues a steady climb of chilled-down riffs and melodies, broken in the middle by an electronic organ sequence that is hypnotic and meditative. “Gwen” is a soothing cocktail of breezy drum play reminiscent of a beachfront sunset barbeque. Tension building strin plucks and piano play accent tribal drums and funky saxes on “La Nevada (Gil Evans)” [cover]. For the first album on Lunaticworks’ all-new Jazz imprint, Cordovan succeeds at creating an engaging and titillating experience.

Review by Dennis Sebayan

A Guy Called Gerald
Proto Acid The Berlin Sessions
****1/2

Posted date: August 2006

(Laboratory Instinct) Acid House can be traced back to pioneering Brit Gerald Simpson, who was then influenced by the TB-303 electro and hip-hop from Mantronix and Arthur Baker, as well as Ice-T. In search of programming electronic music to dance to, Gerald discovered the Roland TB-808 and SH-101—both crucial instruments in the creation of early techno and house. The rest is history, including one of Acid House’s most influential tracks by Simpson, “Voodoo Ray” (1988).

The Manchester native currently based in Berlin has not stopped since. His most recent effort, Berlin Sessions, was recorded at one go live, using two laptops and a DJ-mixer at Gerald’s Diehold Studio. What ensues is decidedly Detroit techno with heavy acid leanings and a bit of the electro slipped in for good measure. “[The album is] how I feel house/techno music would have sounded if the whole rave thing hadn’t happened in England,” Simpson remarks, describing Proto Acid. The soundtrack for what many would have considered the golden-era of underground techno during the mid-nineties, AGCG’s full-length hits expectations in many ways.

From the noisy, sequenced robo-gravy of “Andromeda” to the 4-4 buzzsaw workout “Monday,” to the minimal chirping, street-stomping jubilation of “Voltar,” Gerald doesn’t let-up for one hot minute. And since he recorded this live, there’s plenty of overdubs, reverse-loop FX and bassline swaps, making one track sound like three separate ones as this noisy, 24-track mechanical wonder passes by with stealth and ease. It’s like a storming techno parade, with AGCG as the Grand Marshall.
—Dennis Sebayan

Simon Dunmore
Defected In the House; Eivissa 2006
Disc 1 ****
Disc 2 ***1/2

Posted date: August 2006

(Defected) Ah, summer is in full swing upon us dance music folks, thus beginning the deluge of Ibiza themed compilations. While many are merely flimsy collections of the latest big-room monsters, some actually look to bring out the summer vibes and hedonism that make the Spanish isle a worldwide dance music destination. Here, Defected boss Simon Dunmore drops his label’s annual tribute to Ibiza in a 3-disc collection. For an added bonus disc 3 is a collection of unmixed Ibiza classics, including unrelenting classics H20 “You Can Run But You Can’t Hide,” Gat Décor “Passion” and Black Box “Fantasy.”

Disc one is a well-balanced set, never peaking too early or dragging on too long, as some deep house mixes can. The lazy piano on Soul Central’s “Nia’s Journey Back,” the pumping 4/4 of Afromento’s “Songo” and the brassy blasts of Mainstreet’s “Jansa y Juju” punctuate the overall vibe of the mix—classy Balearic jazz. Disc two is geared with the clubber in mind, bringing together diva vocals (Kathy Brown, Ultra Naté) with funky house for the first half. But then the mix takes an interesting turn. Billy Ray Martin’s “Your Lovin Arms” seems a bit out of place here. And while the inclusion of Paperclip People, Ame and Tiefschwartz (in their pre-electro phase) sounds great, it just doesn’t feel right. Maybe this reviewer needs to be at a Defected night in Ibiza for this to all make sense? [Simon, help a brother out!-ed.] However, as far as Ibiza compilations go, it is quality, perfect for a sun-soaked happy hour or an all-night disco workout.

Review by: Tom Cesa

Motor
Klunk
****

Posted date: August 2006

(Mute) For an American/ French duo who have worked with Prince and Felix Da Housecat, you might figure some hip-shaker funk would be the sonic soup du jour. However, for their debut album, Motor went straight for the jugular with pummeling beats and noisy electronics. What the album may lack in funk, it makes up for in raw visceral energy.

The lead track (and first single) “Black Powder” builds and bangs with a ravey synth that displays the evolution of their sound from their XLOVER days on Gigolo.  “Din 13” bleeps and bass are a perfect fit for darker dancefloors. Many tracks harken back to the late ‘80s / early ‘90s Chicago sounds of Acid House and Industrial. The buzzing acid tech and thumping bass drums of “Stuka Stunt” cuts through your skull like a jackhammer. “Sweatbox” sounds like Laurent Garnier’s “Crispy Bacon” remixed by a snare crazy robot.

Sometimes, the tracks are downright scary (by that, I mean scary-good). “Killer” couples machine gun edits with a mutated bass blast that sounds like Satan vomiting. “Yak” is like a misadventure though a haunted, drug-filled nightclub. To be honest, I wanted more out of the Douglas McCarthy (Nitzer Ebb) collaboration “1x1.” On paper, this looks like a perfect pairing, yet in reality it’s not representative of their artistic potential. Altogether, Klunk is a solid record—not breaking any new ground, but not failing to bring hard rougher sounds to the dancefloor.

Review by: Tom Cesa

Motor will be touring as support for the upcoming fall Nitzer Ebb tour. A Motor tour will soon follow. For more information, please visit:
www.din9.com
www.myspace.com/motor66

Credit Information for photo: mut121-003
Title: Press Pics 2006
Artist: Motor
Photographer: Timothy Saccenti
Date: April 2006
Usage Rights: Press Worldwide
Copyright: Mute Records

Paolo Mojo
Balance 009
****

Posted date: August 2006

(EQ Grey) What is it about double mix compilations lately? More and more DJs are looking to display all facets of their “style.” For the last few years, the Balance series has been championing up-and-coming DJs who take on the 2-disc mix challenge, which has helped establish the series as one of the best. Paolo Mojo brings the proverbial heat with a tightly mixed set. Disc one effortlessly weaves in and out between summery deep house and electro, dropping classics like AlexKid’s “Pick it Up” and Underground Resistance’s “Transitions” next to Mish Mash’s “Speechless.” It shouldn’t work, but is does with brilliant effect.

The second disc is more driving than the first, pushing deep techy beats to their euphoric best. Paolo’s combination of Nathan Fake’s “The Sky is Pink” with Deee-Lite’s “Good Beat” vocals is sublime and blended perfectly with Michael Mayer & Tobias Thomas’ remix of Ada’s airy cover of the Yeah Yeah Yeahs’ “Maps” (it’s a spine tingling moment, to say the least). It’s nice to know that in today’s world of mass-produced computer generated mixes, some are still compiled with care (you can even hear the vinyl crackling a bit on the mix). Then again, we expect nothing less from this series. Here’s to the upcoming 010, mixed by Jimmy Van M!

Review by: Tom Cesa

Peaches
Impeach My Bush
****1/2

Posted date: August 2006

(XL) After listening to any Peaches record, I always feel a little bit violated, like some of my innocence has been taken. Yet, Merrill Nisker never fails to make me laugh, tap my foot and bang my head. Impeach My Bush is no different. The self-proclaimed “sexual conduit” is back with her barrage of beats, guitars and some good ol’ fashion adult content. “Tent In Your Pants” and “Stick It To the Pimp” sound like the lost tracks from the Neptunes and OutKast respectively, with Peaches’ spitting her sexual agenda.  On “Rock the Shocker”, Peaches lays it down like an instructional video: ‘Thumbs Up, Fingers Out’ seems like an endorsement to me [for anyone who knows what rocking the shocker is, you know the score. Those who don’t may be missing out!-ed.].

The first single “Downtown” is a silky smooth slice of 80’s synth-funk. But Peaches is all about the rock on this record. ‘80s rock icon Joan Jett helps give “You Love It” a punk sneer, compliments of a filthy guitar riff. Josh Homme of Queens of the Stone Age fame adds dueling guitars to a simple drum pattern on the radio-ready “Give ‘Er.” “Do Ya” strikes that great balance between rock and electro which many attempt and few see through properly, while “Boys Wanna Be Her” has one of the catchiest sing-along choruses Peaches has ever done. The rock element on these tracks will make them sure-fire live favorites. Feeling violated never sounded so good.

Review by: Tom Cesa

From their UK hardcore beginnings to platinum albums and sold out shows all over the world, The Prodigy have outlasted some of the best (and worst) electronic music has to offer. Love them or hate them, they continue to grace front covers because their releases are top 20 debuts. Their Law is a snapshot of their infamous career, including all their classic singles, b-sides and controversial videos. Disc one features the singles, from cartoon sampling, rave anthem “Charly,” to the bombastic US hit “Firestarter.” But alas, it doesn’t stop there. The grossly over looked “Spitfire” appears as well. While some tracks may seem dated, many are viewed as timeless classics that never seem to go out of fashion. “Out of Space” still seems fresh today. Disc two covers many of their rare b-sides, like their joint effort with Rage Against the Machine / Audioslave guitarist Tom Morello on “No Man Army” as well as a new remix of “Voodoo People” by drum & bass saviors Pendulum. A few live tracks also appear on disk two, like a perfectly venomous performance of Fat of the Lands’ “Serial Thrilla.” Disk 3 is a DVD complete with all of their videos, behind the scenes footage and some live performances, most impressively their triumphant 1997 Brixton Academy show. The DVD is extremely user friendly, especially their vidoeography, which showcases their groundbreaking video for “Breathe” and the unedited version of the controversial “Smack My Bitch Up”. A must for The Prodigy fans and electronic enthusiasts alike.

Review by: Tom Cesa

After cutting his teeth at John Digweed’s infamous Bedrock parties, Danny Howells now has his turn to grace the hallowed decks of the Choice series. With Howells’ choices, we are privy to all the music that made him one of the top jocks in the world. Disc one is his “fantasy 92-94 mixtape” [don’t we all want one of these?-ed.] and disk two is “a more eclectic selection of music he grew up with.” Disc one begins with the classic soulful disco of Fire Island and Urban Soul. Howells then turns up the heat with the jackin’ house of Todd Terry (remix of PM Dawn) and Phanton Inc, only to peak with the acidic thump of Chito’s Revenge and “Hocus Pocus.” On disc two, Howells navigates us through his creative soul, hitting us with UK dance legends Coldcut, Orbital and Black Science Orchestra. His blending of the stripped down drums of Iron Butterfly’s “In a Gadda Da Vida” into The Temptations “Papa was a Rolling Stone” is a moment of pure genius. After all this, he caps it off with the low-slung funk of the Chic produced “Why” by Carly Simon. A perfect example of what artist driven compilations should sound like.

Review by: Tom Cesa

After its European release last year, the Benassi Brothers’ sophomore album Phobia is finally seeing the light of day here in the States. The “Bros.” (technically, cousins Benny and Alle Benassi) bring together an array of vocal talents, adding a voice to their driving, Italo-style electro trance.  When listening to this record, it’s almost impossible not to hear the influence of Benny’s mega-hit “Satisfaction.” Phobia’s production style (ripping basslines and dirty synths) is coupled with trancey melodies and epic breakdowns. Tracks like the single “Make Me Feel” and the more house feeling “Somebody to Touch Me” feature standout vocalist Dhany, who adds soul to the tracks (which musically, is predictable). While “Rocket in the Sky” and “Feel Alive”—performed by vocalist Naan—are unapologetically mainstream, both tracks are quite fun. “Rocket in the Sky” is a ready-made, vocoded hit. “Feel Alive” has a Clapton -style guitar and sing-a-long chorus, which is catchy as hell. With “Ride to Be My Girl,” the duo tries to mix it up with an up-tempo break, but the track fails to take off. Overall, it’s hard to determine where some tracks begin and others end. The Benassi’s are talented producers; as such one would hope to hear more innovation from them. Sorry guys, I’m just not completely “satisfied.”

Review by: Tom Cesa