In the comments section for this track someone has written “I’m a Kieran-sexual (musically speaking)” which is a bit gross but at the same time I know what they mean.
You get the sense that KH is having some fun with Feelings. The monstrous track name is almost unsearchable. And in the track itself, an iconic Star Guitar sample gets kicked back to the beat by Britney. Fun.
Kieran Hebden is the man behind KH (aka Four Tet). You can see him play live, accompanied by the incredible Squidsoup lighting, at Alexandra Palace in the new year.
Long time no see listeners. I’m back with a triple-helping of Dusky goodness.
First up, one of my fave tracks from 2012, their remix of Cloud 9’s Don’t You Want Me Baby. This’ll be sure to get a smile on yer face.
But look, this is Dusky we are talking about, and it all really began (just over) a decade ago with Stick By This. Earlier this year they released a deluxe 10 year anniversary edition with some tasty little edits. Here. You. Go.
And finally, they released a new album just last week. Maybe you were at EartH this weekend for the launch party. Anyway, Pressure is a tribute to the sound of their youth, which is… garage. I have to be honest, most garage isn’t really for me – but for these guys I’ll make a small exception. Check it out here.
With the sun out as it is today, there’s a lot to like about this record.
Manifest Bliss is the debut single from United Freedom Collective, a new project from Mathieu Seynaeve, WaiFung Tsang and producer Robbie Redway. They say their music draws on the clinical work of Seynaeve and Tsang while also taking influence from worlds of Zen Taoism, Chinese plant medicines, and worldwide healing traditions. Lofty goals, but it really does come through, in a Bonobo and Maribou State kind of style. Enjoy!
I’m highly aware that this is skating just on the ride side of cheese (kind of Loods’ MO) but sometimes you’ve just got to let go. If you do that, you will be rewarded, because this feels real good. Definitely a track to be enjoyed in the sunshine after a drink or two. There’s not much subtlety about it, just strings and horns working to full effect. Summer 2022 baby!
The track is out now on Steel City Records. He’s not from Sheffield, he’s from Newcastle. But not that one, the one in Oz. Which is actually known as Steel City. Who knew?
I’ve been a TEED fan for a long time, and it makes me really happy that he is back on the solo production train after some well-publicised time away and ups and downs. His two latest singles tell me that his second album is one to be excited about. Where the Lights Go will be released in July and has a mammoth 17 tracks. A lot more TEED to look forward to.
Bonus album: 8th June 2022 will mark the 10-year anniversary of the release of Trouble. And here it is.
If you are a fan of Flight Facilities’ Down to Earth then this will be right up your street. We all know that Bondax can deliver a catchy electronica track; in Fade, SHELLS channels every ounce of her inner Christine Hoberg to deliver vocals that pair urgency with a soft wistfulness and take it to the next level. I get the feeling the new album is going to be a goodie.
And here is that classic album from Flight Facilities themselves:
Ain’t no two ways about it, I’m a big fan of Space Dimension Controller. He has released a really tasty 6-tracker on his own Tiraquon Recordings.
The release is a slight departure in tone from his usual work; it is less ‘high-concept’ in the sense that there is no space-traveller voiceover, and the tempo is raised a little. Both changes make the tracks just that little bit more danceable. Even so, the release feels very much of the Space Dimension Controller universe. Maybe this is the stuff playing in the clubs of Mikrosektor-50 when Mr. 8040 walks in. Anyway, none of the originality or charm of the persona is lost. Listen up.
If you didn’t understand any of what you just read, where have you been? Do your homework.
I have a really special treat for you today readers.
There have been quite a few Nina Simone remixes coming out recently as part of a Greatest Hits re-issue, and I have been pretty unimpressed. To be fair it is a hard job to take recognisable and established tracks and reimagine them in a way that is an enhancement, without killing what was special about them to begin with. That challenge is amplified when it comes to Nina – her vocals tread a fine line between power and fragility. That tension is why she is such an iconic singer, and why she is able to convey so much emotion through her voice. It is also why most remixes of her tracks seem to miss the mark.
And so how does Hot Chip get this one so right?
I get the sense they are real fans of her work. They treat the vocal with a huge amount of respect and still let it lead the energy and the tone of the track. And then behind it they build up an incredible soundscape with piano, electric guitars and a bassline so thick you can almost touch it. It gets full marks from me.