July 1999I miss the New Music Seminar, it offered the entire contemporary music industry that "really" good reason to make it to "The Big Apple" once a year. A variety of constituents, from every corner of the globe, came to the business capital of the world for this music event. The panels and conclaves were all well attended. Everyone exchanged knowledge and experience at this music industry cornucopia, and then at night performed, partied, and entertained. This was during a period when we did not worry about what "dance music was" or "where it was going." All variety of new music was played and everyone danced. This legendary experience was satisfying and worthwhile because it was founded on a collaboration between DJs, their record pools, and the record labels and their representatives. NMS made everyone feel like they were already part of the greater whole and the crusade to New York City was, in itself, a bond of solidarity. Attendance campaigns by record pools were encouraged with various levels of discounts and perks. Pool directors were "comped" to help motivate and encourage their membership to make it all happen as a team and it did. What kept this conference vital for so many years was it was founded to further the progress of contemporary music. New Music Seminar -- the name said it all. We all wanted to see and hear what was breaking ground and what would be breaking ground. It seemed that there were no boundaries, nor ready-made formulas to be merely filled with this season's flavor. Creative musicians would probe, stretch, experiment, and then solicit support from DJs and record labels alike. What better formula could there be for attaining commercial success for artists and labels than having the assurance of support from DJs, who would care about this success because they felt they were part of something new, constructive, and bigger than all the parts. Everyone wants to create and be vital with their pursuits, not try to solve problems they did not help spawn. From the beginning of what we considered contemporary "new music" there have been genres with artists lurking on the outside and considered "underground." From post-WWII through much of the 60s "lounge" or "cocktail" style music thrived and had a fairly large following. However, with only a few exceptions, lounge music never bubbled up much beyond the cigarette smoke and laughter of those dimly lit saloons that gave it birth. ELECTRO LOUNGE-ELECTRONIC EXCURSIONS IN HI-FIDELITY on Right Stuff (Capitol/EMI) is a fantastic project that digs deep into the fertile cache of what is known as "lounge" music and reinvents it for the next millennium. Lounge-core has been re-emerging via reissued classics for some time, most of them courtesy of the excellent series offered by Capitol/EMI. Until only recently, this music found acceptance only within the context of "camp," but these artists were innovative, masterful musicians and singers. Lounge-style acts and their fans have much in common with the musicians and the followers of the progressive/underground music that this column attempts to feature. In both cases sophistication in lifestyle and music was very important. Back in "the day" it was through slick clothes, cool cars, and smooth cocktails mingled with music using "state-of-the-art" electric organs, swingin' guitars, and "stereo-phonic sound." Today we have cool clothes, slick PCs, and smooth cocktails (some things never change) integrated with music that's been digitally processed via synthesizers and programs, with midi, samplers, filters, keyboards, and the occasional vocalist. "Electro Lounge" takes eleven tracks representing mostly obscure lounge performers (Dean Martin being one exception) and enlists the production/remix talents of what reads like a "who's who" of electronica to turn it out. Every selection is a delight. "Sway" as performed by Dean Martin is coupled with Julie London's recording by The Rip-off Artist (aka Matt Haines) producing a duet only heard here. The overall effect is a twisted, big-beat samba with infectious bits of violins, strumming guitar, and horns intertwined with acidic keyboards and countless quirky digital effects. Martin Denny's classic "Hypnotique" is impaled by Uberzone's crispy techno break-beats and rubber-y bass-lines. Denny's crazed, pseudo-eastern, trumpet styling comes through loud and proud along with the song's strong "erotica" themes. Tranquility Bass takes on "Jump, Jive an' Wail" by lounge-lizard extraordinaire Louie Prima (where's Keely?). This great song may be the most recognizable selection from this project. The mix focuses on Prima's inimitable vocal scat talents enveloped by many catchy effects that cleverly incorporate the original horn stabs and "jump-jive" rhythm to great effect in a masterpiece of modern ingenuity. April Stevens' rendition of "Do It Again" retains all the breathy sauciness of her original encased in 1999 production values and stimulating beats by Luke Vibert. The soundtrack moodiness of John Barry's "Seance on a Wet Afternoon" is harnessed into a rolling drum & bass affair by Omni Trio. After hearing this mix you'll have to wonder if Omni Trio hasn't tapped into John Barry's musical larder before. Also: U-Ziq remixes "Lonesome Road" by Dean Elliott big-beat style (with Yma Sumac samples), Q-Burns Abstract remixes Gopher (Mambo) by Yma Sumac hard step (without Yma), the Utah Saints apply an intense break beat to King Curtis "Watermelon Man", and Gearwhore turn in a techno, abstract rendition of the "James Bond Theme" as performed by Lee Roy Holmes. It has been some time since the last DEADSTOCK release, so "Kaned" on Critical Massive (UK) was most welcome. Deadstock (aka Ian Hicks, Danny Rose, or Defender) was in the original Internal Records stable with Orbital, CJ Bolland, and The Advent. When the label shut down Deadstock was the only one left without label ties until now. This splendid release sees Deadstock not losing a minute of momentum; "Kaned" is powerful and bass-laden with break-beat grooves that will rattle rib cages on the more daring dance floors. There are two main mixes; one is the "Mu-ti-NY Edit" which boosts the bass 5dbs but strips it down bare avoiding all the original angst and well-constructed distortion in the "sharp techno melodies," oscillations, caustic OBX, and precise vocal hooks that really define the track. Necessity is the mother of invention. With recording artists, finding a supportive label to take them under their wing can just be a "mother...." SUGARPUSSY (aka Dom Agius and Mick Guihen) founded their London-based label, (aka Sugarpussy <dandm1991@aol.com>) in response to that dilemma. They had been writing and producing together for five years and realized that they needed their own vehicle for their releases. They follow the success of last year's "We Like the Music" with the label/act's second release "Checkmate." Their sound is comparable to Hustler Convention in their use of disco bass-lines but edgier and with a dose of techno fusion. There are two potent mixes, "Studio 31 Disco Mix" with peak hour charm and the darker, funk-techy "Entering the Sea of Fire Mix." Sugarpussy are an artist and label to keep your eye on. GALAXY TALK is another duo, Bradley Cross and Matt Hill, who began Upward Records <galaxytalk@usa.net> for similar reasons. Their debut offering, "Stop Waiting," is a fine progressive sampler of what the boys have to offer. This ambitious release has four techno tracks that reveal their versatility: break-beat track "Sonictripnotica" clocks in with a tasty 130 bpm, "Claude Ravel" is a 146 bpm, tech-funk power-house, and Galaxy Talk nods to drum & bass with "Hypervigilant" and a "trip-tech" mix of "Sonictripnotica," groovy. DISCIPLES OF JOHNNY MOJO (aka DJ Blackstone & Amit Shoham) have a sophomore release "I Know You" on Tarantic Records (415-351 2977) which demonstrates a large measure of growth and maturity from their debut "...Theme." These guys have confidently grabbed progressive trance-house by the balls with "I Know You." Uncharacteristic for the Bay Area music scene, this is powerful and bass-driven club fare, something you would be more likely to hear in a very dimly lit club in New York (or in my set) than here in San Francisco. Teneglia-styled moodiness is coupled with an engaging, distant keyboard melody and Moraes sensuality, and is tightened up with aggressive, tech-house styled percussion on this main mix. The "dub" mix strips it all down and presents the essential elements with a minimal, Detroit style. Send review material to: |