n the complementary menu today for Beatz number 36 are new singles by Todd Sines, Tracy Thorn, and Audision, while the second course specials are platters from Kompakt, Vakant, and Gomma. Surely you have some time to dine with us…?



Tracey Thorn
It’s All True (Remixes)
Virgin

Tracey Thorn has always been the “Thin White Duchess” of the dance diva landscape—her rich, sweet voice has graced countless dance EPs, from Deep Dish to Tiefschwarz. But this is one of her better efforts, first of all because (thank God) she’s not singing about an abusive relationship. In fact, even after eight or nine listens, I still haven’t paid any attention to the lyrics, and don't feel the need to. It’s all true.

The really interesting thing here is how it’s managed to condense several threads or tendencies within recent dance music production into one artifact. In the first instance—how many people had even heard of Martin Buttrich a year ago? And yet now, based on the strength of no more than three EPs, Buttrich has become an in-demand remixer in the league of Matt Edwards or Ewan Pearson, who gets co-production credits on this track, along with Darshan Jesrani of Metro Area. Having Darshan, Martin and Ewan all in the room also brings three highly developed and particular production sensibilities into the same frame also shows not just a rapprochement, but an affection for and between dub-disco, electro inflected tech-house, and muscular minimal—a love that might not have spoken its name even a few years ago.

The original is hard to go past—it manages to showcase Thorn’s sweet throat and give itself a sparkling electro disco massage all in a radio friendly four minutes, easily referencing synth pop (a la Eurythmics), disco, and house along the way. Buttrich’s mixes are meaty, nine minute affairs. They start off all “Pokerflat” (dry, strumming minimal house) and gradually build with a melodic refrain that threatens to break into Ame’s “Rej” at any moment, until Thorn’s vocal reminds you where you are. The dub version adds space for a “bubbling up” feeling. Kris Menace’s version is a real stinker—unimaginative and unengaging, it adds cold pads and attempts to create drama with a break based around pitch shifting poor Tracey’s voice. Meh. Both the Escort extended mix and the DSE dub head for the dub disco, with the former opting for a more openly retro take and the latter taking things in a very Metro Area electro-disco vein (unsurprising, as it's a Darshan production). They’re both great, but I couldn’t help but wish that M. Fulton had been brought on board to lend a pound more fruit and funk to proceedings.


[Peter Chambers]



Todd Sines
Broad Band EP
Frankie Rec / FRANKIE REC 17

Todd Sines has released records on Carl Craig’s Planet E and Dan Bell’s 7th City imprints among others, so you know he’s learned from the best. But after five years in hibernation, will Sines still remember those lessons? The answer is yes, and the four-track Broad Band EP shows that the time off hasn’t dried up his creative well.

Opener “Rive Gauche” actually sounds a bit like a hybrid of Craig and Bell, with the former’s layered percussion and analog synth buzzes and the latter’s clipped sounds and choppy rhythms, as well as some vocal snippets from who I assume is Sines’ longtime partner in crime Natacha Labelle. Elsewhere, Sines strips down the percussion and makes with some seriously twisted organ riffage on “In_Come,” and comes over a bit Akufen-like on “Elastic.” A well-rounded and diverse return to form, then. I would think that if Sines could ever get a full-length together, it would be a glorious thing indeed.

[Todd Hutlock]

Aril Brikha
Winter EP
Kompakt / KOM 151

Swedish Derrick May devotee Aril Brikha made a big splash with his early releases on May’s esteemed Transmat and Fragile labels back at the turn of the millennium. It seems, however, that along with a taste for spacious and silky-smooth Detroit techno, Brikha apparently picked up some of May’s horrific work ethic, as this two-tracker on Kompakt is only his third release in the last five years. Brikha apparently hasn’t spent the time reinventing himself musically, as the two tracks here follow the same funky, spaced-out template as his previous work.

Not that this is a bad thing necessarily, but if you’ve heard May’s classic works (and if you’re reading this and you haven’t, turn off the computer and go directly to Innovator and don’t stop until you can hum each individual synth part to “Strings of the Strings of Life” in your sleep), or even Brikha’s own Deeeparture In Time LP for that matter, you’ve heard all of this done before, and done better. There’s always a place on my shelf for this kind of ice-cool Detroit material, but these aren’t particularly inspiring or inspired readings on the template, merely Motor City by Numbers.

[Todd Hutlock]

Partial Arts
Trauermusik
Kompakt / KOM 149

Why has Ewan Pearson has emerged as a star remixer? His neatly crafted versions of other people’s music often sound like the original should have in the first place. It’s a know-how that he applies here with co-consiprator Alistair Usher to produce a record that sounds like Kompakt records might, but often don’t. The duo have managed to key in on the particularly lush, rich, sentimental melodic techno sound that’s marked anthems like Magnet’s “KissKissKiss,” Superpitcher’s “‘Mushroom,” or Robert Babicz’ “Sonntag” and transport it into an emotional landscape of their own creation.

“Trauermusik” begins with a slight electro-disco inflection, boogying past with a neat bassline, but then piles on the synths and falling drums until there’s not a dry eye left in the house. “Full release” (as they advertise in Japanese massage parlors) in eight minutes, guaranteed. But it’s nothing compared to its evil, mischief loving Alter Ego mix. From the get go, this is a raucous, rambunctious smasher—if the original cries tears, then this version rips them. Very close to “Rocker” and the other huge tracks off the recent Alter Ego album, the track manages to neck five shots of the hard stuff on its way to total annihilation, and no doubt it will take the whole floor with it. Two very different types of emotional hit, both fully realized. Not all Kompakt EPs are worth buying, but this is one of them.

[Peter Chambers]

Onur Özer
Red Cabaret
Vakant / VA 012

Who’d have thought that a pianica (or a synth patch imitating one) could sound evil? Onur Özer proves here that, unquestionably, it can. “Allegro Energico,” the opening cut on the Red Cabaret EP menaces from the get go, with a bassline like a padded hammer falling on a cable very reminiscent of Cassy’s wonderful “Toyah,” which is quickly followed by said kiddy instrument. From there it’s wailing, reverbed one-finger synth lines and lots of clatter in the dark.

After the first spooking it’s a quick walk into the blackest of forests to get to the “Red Cabaret,” and this one’s a black lipstick affair. In some ways, this track bears comparison to Villalobos’ recent Fizheuer behemoth, if for no other reason than the epic scope and the interesting juxtaposition of squiggling, “micro” percussive elements interrupted by very live sounding horn samples. As a composition on its own, the track lacks coherence or direction, but like a lot of minimal produced these days, it’s more about generating an accumulation of “cool sounds” that beg to be given sense in the mix. “Orion” is more of the same, putting shaken tambourines and live drums in the midst of some freaked-out atmospheres and a strangely Art of Noise synth noodle.

These tracks might provide damning evidence that Özer is neither able to play a synthesizer, write a song nor structure an arrangement, but perhaps I’m using a logic that doesn’t apply here. Hmm. Freaky, kooky stuff.

[Peter Chambers]

Hannes Teichmann
Jäger Remixe
Festplatten / FEST 34

Festplatten has dug up Teichmann's six year old tech-house track "Jäger" for a set of new remixes, and unsurprisingly it feels a bit nostalgic. The machine-like percussion, rigid basslines, and a thoroughly neutral mood: these are definite hallmarks of minimal Germany in 2001, a far paler color than the abstract psychedelic, gothic, and avant-pop leanings of minimal 2007. But for home listening and warm-up sets, this is a solid release, with the Sascha Funke remix leading the way—its steely motifs are reminiscent of draining liquid hardening into concrete upon contact with the air.

[Michael F Gill]

Midnight Operator
Midnight Operator
Wagon Repair / WAG 021

The first offering from Mathew Jonson and his drum 'n' bassier brother Nathan (aka Hrdvision) doesn't sound too different from what you'd imagine it to be—squelching, menacing bass melodies set against housey breakbeats—but there is a warped sense of structure and an abundance of quick and filtered edits that makes it hard to fully grasp. Make no mistake, this is involving head music, but perhaps too involving for dancefloors.

The convoluted funk of the title track, which could be snuck into an adventurous dubstep set, would rather run in circles instead of leading you somewhere. On the B-side, a cut up of Mathew's "Revenge of the Zombie Bikers" becomes more detached and solemn than the original, the famous bassline sounding closer to Kode 9 than Carl Craig. Worth investigating.

[Michael F Gill]

Audision
Jetlag
Between Us / BTWN 07

A download-only release from Russian imprint Between Us, Audision returns with more dubby, brooding melancholia that sounds like an outtake from the first quarter of Michael Mayer’s Immer mix. While the original is best suited for a headphone listen or perhaps to create atmosphere early on in a set, the remix by Pablo Bolivar pushes things down further down the filtered-down, Basic Channel path to enlightenment, also adding a bit more swing and animated drum programming to make it slightly more floor friendly. Recommended.
[Colin James Nagy]

Trans Mania
Boing, Boom Jack!
Gomma / Gomma 088

Originally slated for Diskokaine's label (home of the wonderful Sally Shapiro), this dark and electro-tinged house track is now being released through Gomma, a doubling of resources and delights that will hopefully lead to Sally Shapiro singing on the next Munk album and Tomboy being reworked by Wolfram Eckert. Given the appearance of none other than Alexander Robotnick alongside Patrick Pulsinger on remix duties for this single, could we be overly hopeful in thinking the neo-Italo cauldron in northern Europe is finally coming to a boil?

"Boing, Boom, Jack!" is exactly what it promises, I'll tell you that much—heavy pulsating, dancefloor-shredding nouveau electro with monster old-school acid house drums and squelches, the kind of thing those black boot-donning kiddies in Copenhagen should be stomping along to right about now. The original is right insane, but the remixes shouldn't be overlooked—Pulsinger goes deep for a reception in hard electro territory and penetrates the end zone with a vibe perfect for the Italo Superbowl Shuffle. Robotnick, old hat that he is, kicks the drums and spaceship noises into overdrive and pulls the extra point, in just a little over five minutes. God, sometimes it feels good to root for the home team, don't it?

[Mallory O’Donnell]

Peter Visti
Balearic Love
Eskimo Records / 541416 501583

It really doesn't come much more transparent then the title of this little ditty—"Balearic Love" pretty much does what it says on the tin, which is certainly not a problem for this child. A sensuous, deep, casa de tropico number, it gets stark naked and runs around on the beach at 3 a.m. looking for hugs—and we've only reached the halfway mark. All the touchstones are here—lingering syn-strings, piano stabs, warm layers of multiple melodic lines and drums that don't so much drive as bolster the sexualized technology on display. There's even an indecipherable vocal coming in at the song's close, so you can vibe and chant away, at least until the rush cools off.

B-side "Bad Weather" mixes things up a bit and gets into squirrely funk land, which is more than fine—this time the rhythm is dominant and chunky like a 1983 dance dubplate, with the layering of multiple synths as prominent as on the flip, but to the tune of a more stark and Euro-disco beat. Though not as memorable as the A-side, it gives us a little bit more to chew on in the bottom-end department, while still retaining the lovely midi-scapes of its partner. Completely predictable, yet somehow completely awesome.

[Mallory O’Donnell]

Kalle-M
This Place EP
Frisbee Tracks / FT 070

This one reminds me of way too many records I'd sample at Satellite Records killing time before a movie or something, one of those deep house-type twelves whose "progress" basically amounted to predictable rhythms, that rubbery bellsynth stutter, and absolutely zero climax. One of those records somebody, somewhere, says is "slamming," though it's obvious he only listened to the first fifteen seconds and didn't drop the needle anywhere else on the A, not that Kalle-M packed any surprises anyway. Why records like this get released is beyond me, two bars of pitiful nonsense, looped and EQ'd ad infinitum with no sensible verve or apparent logic. Even if you haven't been to spin class in weeks, trust me: you've heard this one before.

[Nick Sylvester]

Strangelets
Riot On Planet 10
Supersoul Recordings / SSREC002

The bassline, which hammers on every couple bars and I guess is supposed to be funky, isn't so great, but otherwise this Soulwax Nite Versions-type electro grinder has a lot of forward driving motion. If it ends up a transition track for the indie-dance set, so be it. The pulsing rootnote synths, pushed way back and moving up ever so slowly, have a lot to do with the propulsion, so do the acidic accents, no surprise then that both Blitz Gramsci and Mock & Toof refocus their remixes there. BG moves the pulse centerstage and doubles it up so it rumbles italo-style, while Mock & Toof hollow out the track's midsection to make room for atonal leftfield electro-type embellishments.

[Nick Sylvester]


BEATZCAST

01: Strangelets - Riot on Planet 10 (Blitz Gramsci Rmx)
02: Tracy Thorn - It's All True (Martin Buttrich Remix)
03: Kalle-M - Glow with the Flow
04: Aril Brikkha - Berghain
05: Sian - Merman
06: Partial Arts - Trauermusik (Original Mix)
07: Lil Suzy - Take Me in Your Arms

BEATZ STAFF CHARTS
Todd Hutlock
Todd Sines - In_Come [Frankie Rec]
Safety Scissors - Where Is Germany and How Do I Get There? (Ellen Allien Germany Remix) [Bpitch Control]
Roxy Music - The Main Thing (Rub-N-Tug’s Proton Saga) [Virgin]
Dominik Eulberg & Gabriel Ananda - Harzer Roller [Traum Schallplatten]
Pär Grindvik - Casio [Spectral Sound]
Heartthrob - Baby Kate (Robotman Remix) [M_nus]
Ripperton - Tainted Words [Connaisseur]
Audio Werner - Flat Funk [Circus Company]
Tracey Thorn - It’s All True (Martin Buttrich Dub) [Virgin]
Marcellus Pittman - A Mix [Unirhythm]

Michael F. Gill
Goat Dance – Goat Dance (Version) [Bear Entertainment]
Blackjoy – Untitled (Kerri Chandler’s Bigga Mix) [Freerange]
Tony Allen – One Tree (Terrence Parker’s Spirit of Unity Instrumental Mix) [Honest Jon’s]
PM Dawn – A Watcher Point of View [Don’t Cha Think] (Todd Terry’s Hard House Mix) [Gee Street]
Escort - All That She Is [Escort]
Jo Squillo Eletrix – Avventurieri [Polydor]
The Voyagers - Distant Planet [Discomagic]
Venus Gang – Space Woman [P.B.I. Records]
Two Tons O' Fun – Got The Feeling [Fantasy Honey]
Tribe – Koke [Probe]