Just when everyone starts to compile their end of year lists, along comes this. Strictly speaking it isn’t a 2013 release, but its recent surge in popularity means it may as well be.
There’s not much info on this, all I can find is that it’s a tribute edit to this. Estonia’s Ajukaja has basically layered the original with hi-hats and the occasional snare roll, before respectfully cutting it all complete with a little pitch-bend for that full saturated feel. “Benga Benga 2″ and “Benga Benga 3″ aren’t bad either, except this ones a little more assertive in the Congolese guitar and saxophone leads.
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Keep an eye on the Porridge Bullet website for a repress.
Moodymann looks set to return with an album.
Entitled ABCD: The Album, the release date will be 20th December. What we do know is it’s an LP, coming through on his own label Mahogani Music. Given the title, presumably it’ll be a follow up to ABCD, the mini-album that arrived in May this year. Apart from this video that got uploaded to Mahogani’s Vimeo about a year ago, the tracklist will consist of solely original materials (with this the exception given it came on a Scion AV release from 2012, and was co-produced by Andres).
Typically cryptic Moody. Here’s the tracklist:
01. Hold It Down
02. Never Quite The Same
06. Sunday Hotel
07. Come To Me
08. Lyk U Used 2
10. U Look Like Ice Cream N The Summertime
12. Sloppy Cosmic
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ABCD: The Album is due out December 20th
A Sagittariun’s Dreams Ritual is quickly becoming one of our albums of the year. Its richness and variety means there’s not much else like it. His label Elastic Dreams isn’t too bad either. It’s been the primary output for all of his materials to date, as well as an EP from Nyra and Ruff Cherry.
What’s clear then, is that A Sagittariun is in good spirits. That said he’s just given away a complementary WAV remix of Teeth Of The Sea. It’s his usual formula, this time a worming synth with a body-moving Roland tucked behind. For me, it’s just topped off a very good year for the shadowy Bristolian.
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Link to Elastic Dreams here.
Ilian Tape have been on fire recently. Dario’s latest EP “Alto Fragments” has been getting rinsed, quite literally, by Surgeon on his Rinse show which you can listen to here. As well as that, the Zenker Brothers have proven to be decent on the A&R front.
Check this from Andrea, it came on the Stenny / Andrea Vostok Smokescreen collaboration EP from September this year. It’s definitely the calmer of the bunch opposed to the full throttle, tape-hissing Techno that’s usually found on Ilian. And to my ears, the combination of scattered drum arrangements and that synthy, percussion-heavy style make it a sort of cross between Hessle Audio and tINI.
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Be sure to check Ilian Tape’s latest release here.
Perhaps the most captivating aspect to Francis Harris’ production is his ability to wring every drop of emotion from a track, without ever wringing it dry or tasteless. His album Leland is a prime example, and for reasons well documented here, Harris altered the entire direction of the album after the dynamics of his life had been turned upside-down in the process of creating it.
You Can Always Leave comes as an introduction to his approaching follow-up album Minutes of Sleep. On the whole it picks up where Leland left; the melancholic trumpets and vocals stay firmly fixed to conjure up a familiar soundscape that’s soaked with emotion. Crucially, though, it feels so organic, and Harris never once lets it brew for too long. “Radiofreeze” demonstrates this best. It’s a blend of swirling pads and pulsating bass tied to a painstaking attention to detail, which builds up an unhurried tension that’s all too easy to love.
That said, he’s able to make just as much of a point with vocals. Title track “You Can Always Leave” works off a similar blueprint to his strongest work to date “Lostfound“. Tiny kicks tied to the simplest of hats carve an opening for its cosy vocals, vocals that are then jostled with trumpets and pads to create a sturdy and purposeful calm. From herein Harris throws in hats to keep the progression, building up and then unraveling tension with such astuteness that you can’t help be charmed by it’s grace. The DJ Sprinkles remix isn’t bad either. I’d argue it’s more a rework, one that sticks to the framework of the original yet focuses more on the element of restraint, given it’s twelve minutes long and the only real addition is Caribbean drums and panned-out hats. Like the originals, it’s physical proof that a little goes a long way.
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Sample’s here, and if you liked it that much you can buy it pre-order it here.