November 1998November is when most of us first start thinking about the upcoming holidays. When dealing with underground music you never have to fear the usual interference. However, when it comes to holiday gift-giving and your favorite DJ friend, don't go into the local vinyl emporium and ask the clerk to suggest a "nice" "12 inch," unless you live for some "nice" verbal abuse. The only real gift for a DJ is a gift certificate to the aforementioned vinyl emporium. The only time vinyl can be a gift to a DJ is when it is from their shopping buddies and even then it should be on their "list" -- you know the one carried around by all "trainspotters" worth their salt. Of course any DJ would be thrilled to get a new travel case or bag, if you can afford it. Wrapping a gift certificate can be a less than satisfying experience, especially to those whom the presentation is all part of the holiday gift giving affair. Here are a few albums that you could be confident giving if your budget is below $25.00. MR. JAMES BARTH (aka Cari Lekebusch) "Stealin' Music" on Svek out of Sweden is an astounding new release for this prolific artist. We have always expected Lekebusch's alias of Mr. James Barth to offer the deeper side of his artistic expression -- "Stealin Music" is that and a lot more. Tech-house has always been the base of the Barth projects and there are some fresh elements that make this album shine. Most of the fourteen tracks contain varying amounts of vocals. Don't shy away, the vocals are all gritty and highly processed and only add to the intended progressive spirit. This album is the "trainspotters'" nightmare, all the tracks are "cut & paste" affairs from the most obscure of sources. The only one that I'm sure of is the tastefully done "Dope Movin'," that utilizes most of Grace Jones' "I've Done It Again" -- excluding any part of her vocal, that is. There is also a different attitude towards bpms; a majority of the songs average just around the mid-to-high 120s. You would never see a Cari Lekebusch release below the 130s so this is quite a pleasant change. There are several club ready-to-go tracks, among them the title track "Stealin Music," "Pay Me in Love," "Chains," "Style & Techniq" and "Live Feelin's." This album is not mixed together, exactly, but the segues are without break and there are three very quirky "audio interludes" by M. Sandstrom that bring a different sort of interest, uncommon with techno artists. MATEO & MATOS aka Eddie 'Ez' Matos & John 'Roc' Mateos release "New York Rhythms, Volume Two" on Glasgow Underground (UK) a very nice progression from last year's first volume. These guys have managed to take the "Glasgow Underground" sound to heart and deliver a collection of their most sophisticated and mature tracks to date. Mateo & Matos have refined the label's sound -- jazzy, melodic grooves with a kick. Something that a majority of the label's artists could take a cue from. All of the music found here was germinated from clubs and made for clubs. They do DJ music for DJs, maybe not for all the punters, but DJs love them. This is available on a single CD and a double CD set, for a few dollars you get an extra disc of all their limited remixed versions. One of the very first artists to break the stigma towards contemporary French club music was SHAZZ. His music was initially extremely familiar yet alien to club sensibilities at the same time. His sound brought exceptionally deep, jazzy melodies constructed with a great deal of acoustic instrumentation to an arena being fueled by "cut & paste" sampled extravaganzas. Shazz's warm and inviting vibe is all there in his new full-length "Batignolles Square" on the French label Yellow. The ten tracks include the current, sizzling "Innerside" with the heartfelt vocalizations of Ken Norris, and both parts 1 & 2 of the sought after El Camino that was released on F Communications last year. This collection shows Shazz's full versatilty with an equal number of downtempo to uptempo tracks. Not that I'm against downtempo offerings and these stand on their own as is, but each one them could make it the clubs with the right house mix. PHOTEK "Form & Function" on Astralwerks is more of an odd retrospective than a new album, but will be treasured by all the drum & bass fans on your gift-buying list none-the-less. The high points will be four rare, well out-of-print songs that have never appeared anywhere outside of the Photek label and two new tracks that will only appear here. The six remaining previously-released tracks have been remixed by revered d&b artists such as J Majik, Doc Scott, Pershay/Decorder, Digital, and Photek. The one kind of CD that you should never buy for a DJ is a mixed set. Nothing could be taken more like a slap in the face than to receive a mixed CD -- it implies that you found fault with their abilities and are suggesting some insight from another DJ more experienced. This of course may be the case, but you don't want to be the one proposing such a thing. This leads to the new CD FUTURE PROGRESSIVE on Nervous Records mixed flawlessly by Chris Harshman. I would normally not include mixed CDs in this column, my reason for presenting this collection is that Nervous is releasing this fine music in a series of four twelve-inch records. This is absolutely the "most" DJ-friendly way to approach such a project. It is always so disheartening to have a "DJ-friendly" vinyl album on the shelf as a quadruple pack for $40.00 when there are only a couple tracks that you have to have. With four nicely paced-out singles we can all pick and choose. The selections on this disc truly represent some of this best-kept secrets in the progressive underground. With names like Terry Lee Brown Jr., Laidback Luke, Silvio Ecomo, Capricorn, DJ Randy, Nalin & Kane, Viper, Wishbone and Antic you practically have a "who's who" of tech-house at your fingertips. These are the artists and tracks that become mere blurs because of how fast they fly off the shelves. The ever-productive Velocity Records have a huge bomb on their hands with BRICK NATION featuring CRAIG TRAVIS "I Like It." Bill Lee aka Brick Nation is going to be one to look out for if this debut release is any indication. The original mix has a classic deep Shelter quality that should keep New Jersey happy with its skippy rhythms and tight piano stabs. Craig Travis of mid 90s group NIIU offers up spirited vocals that harmonize beautifully with the track. The highlight here is peak-hour Dark mix with crisp precise percussion, drawn-out piano chords and complementary phat bassline. There will also be a very deep drum & bass mix to round out this great release. All these varied mixes were done by Lee, this really shows his versatility and respect for all the music. This track is already enjoying rotation on some the top mix shows across the country. Pagan UK releases a new one from San Francisco's Charles Webster aka PRESENCE with "Sense of Danger." This song is a superb follow up to his last Pagan release "Better Days." Although Webster has always presented us with some of the finest "tracks" around, it is surely gratifying to have him keep the "song" ball rolling. This deep moody piece is of course highlighted by the outstanding vocals of Shara Nelson (Massive Attack). She has never sounded better and her voice is truly exalted and showcased. This is the kind of hallmark song that makes me anticipate the next release. The highly sought-after CHEEK on the French label Versatile has re-released "Sunshine" from the "Venus" EP. Pépé Braddock does the remix honors and turns out a thumping groove with a fresh dose of instrumentation. DJ Dealer, (aka Greg Deihl), presents Risqué doing "Temptation," the newest outing for Subliminal. Cevin Fisher is on the mark as usual with his hard-edged sensual groove. Lark's, aka Laura Todd's, sexy articulations are alluring and a purr-fect counterpart to the peak-hour rhythms. Cevin Fisher does it again with his amazing mix of "Beautiful Day" by HOUSE OF 909 on Pagan UK. It is actually a very simple lyric, sexy bassline and some of Fisher's trademark infectious rhythms. The WAMDUE PROJECT seldom fail to payoff and their latest on Strictly Rhythm, "Program Yourself EP" is no exception. There are four tracks, with "Are You High?" and "Like This" being the highlights. "Are You High?" is a deep tribal song with early 90s leanings and head fuck vocalizations over the infectious rhythms. "Like This" is a full-on spacey-house trip, very Françoise K. There is also a nice downtempo house track, "King of My Castle," and "You're The Reason" that dabbles in a little of the ol' drum & bass. The new ones from FILA BRAZILLIA, "Here Comes Pissy Willy/Bovine Funk" on Pork UK, are two more fine "funked-out groovers" that you could swear were mixes from a live band. You can always count on this group to offer up something fresh and interesting enough to garner the attention from the most jaded amongst us. While not normally on this column's turf the new Tuff Jam is an outstanding offering with all the earmarks of commercial success but still firmly entrenched in our beloved underground. Santiago's vocals soar while keeping her feet firmly on Mother Earth. There are two discs of mixes to this release, but my money is on the original Tuff Jam mix. This track is so good that all the whistles & bells and "speed garage" treatments are really "gilding the lily." You could consider one of the remixes after you wear out the original. Tresor out of Germany releases a BLAKE BAXTER four-track EP, "Disko Tech," from his full-length for the label "Blake Baxter: A Decade Underground." This is a mixed CD from the Tresor/Globus club, but it is more or less ten years of his best. There are ten of his tracks and eight others that provide nice frames and bridges from one track to the next. Most of Baxter's tracks are, in his inimitable sexy tech-house style, essential. The full-length has been picked up by Caroline, so save your import bucks. Brad Peterson is a very enterprising techno producer/artist/distributor. Yes distributor -- after the expected frustration of putting out his own record and getting the usual run-around, Brad is doing it all himself. His current project is TECH WORLD "Techno from the Future Planet"; he calls his label X-World Communication (615-383-7267). The four tracks are something that could be right at home in Detroit or something on Plastic City, but this fine techno is straight out of Nashville. There are no banjos or yodeling found here, just very refined, stripped-down techno. This proves that "our" underground can thrive anywhere -- "stop locale-phobia" now! On the always strong Peppermint Jam label, Germany, comes SPILLER's "Batucada" this is a re-working from Towa Tei's last album from a while back. With its Heartist-flavored percussions giving it an even stronger samba house feel, and remixes from Boris Dlugosch, Sounds of Life and Michi Lange, you know you have a "stormer" well before the needle hits the vinyl. Loose Movements, aka Rocky & Diesel, do their thing for Kontraband UK with "More Grooves." This label has yet to let us down. This superb filtered house outing has diverse elements from jazzy melodies that fold into the track via French style chords to tight, catchy percussion delivering the tight rhythm with phat-assed bassline. A vital tool for anyone's set from the most progressive underground to the ultimate commercial. On the tip of tracks that always work and can build a bridge to anywhere comes the first full length from that fabulous group SWAG, "Collected Works 1995-1998," out on Jus' Trax of the UK. All but two new tracks have been previously released on the label. This Shefield duo were amongst the first pioneers of the tech-house genre and this album could be a primer for all the junior up and comers. This is peak time hard deep beats with "locked grooves of filtered twisted beats and bass" totally uplifting without the usual frommage. It really isn't the best idea to mention "white label" projects that may be here today and gone tomorrow, however if you come across one called GROOVERS IN THE HOUSE, grab it. This is a very clever use of the Dee-lite chestnut "Groove Is in the Heart." Don't start groaning until you hear it, a massive tech intro begins the track, that familiar bassline starts to leak in, and then a bit of the keyboards. About two thirds through the track, splash in a hint of the lyric and crescendo with a full chorus. I defy even the most hardbitten tech head not to crack a smile. Send review material to: |