Why do I like Juke? I guess because I like Chicago house! When Addison Groove did Dumbshit (Footcrab‘s B-side) two years ago, it was a revelation. I remember back then, I still was skeptical about most post dubstep music, but the review mentioned 808 and 909 beats, so I checked it out. It sounded like the most successful mutation I’d heard in a long time. I was already getting mad energy from the Chicago resurgence with Traxx, JTC, D’Marc Cantu & co, but this took me by surprise as I wasn’t that much into the faster Dance Mania joints, too hectic for my tastes, mostly. Addison Groove slowed down the juke to 135-140 BPM and put it on the map, making it mixing friendly in the most noble way : you can mix his stuff with disco, 135 BPM, the origin of all house! But going back a little, I can also see a few other loves of mine, like Miami bass, the quest for a fully accomplished track with nothing but a drum machine, dancing with your mind off and your body on, looking like a fool but not carrying the slightest as long as your feet touch the floor 135 times a minute. Spinn and Rashad are the current gods of juke/footwork (thanks to the attention Addison gave them), but it’s already going further then expected with the Shangaan electro going 175-180 BPM and embracing a similar minimalistic aesthetic, basically a testament to house’s versatility. Anyhow, here’s a closer examination to the phenomenon, a less subjective one. Be thankful, you got both!
How does one stumble upon Shawn Shegog‘s records in 2012? One doesn’t. One either got those some time ago, seriously digging or seriously paying. So why then? Well, Shegog mostly was a singer, or at least vocalist on some Mark Imperial releases, his No Name ones, and he really did contribute to the edge those have. On both his solo releases, he’s simply manages to get everything right (with a little help from the Imperial cohorts) especially on the “Living in the dark side” dub, one version absent from youtube and such, one heavily involved in my DJ sets.
Little is know about Shegog’s history, so one can only speculate, but one remarkable aspect of both his releases is the unlikely and all to rare dark visual aspect of his labels, one that is all too much absent in Chicago house, at least that dark! Maybe Shegog was way too tormented for this scene and vanished, yet he left us with two gems and that makes him a Chi town hero in my book.
The Oscillation – Lament – 2XLP – Veils – All Time Low (2011) The Chain – Lostwithiel – 12″ – Lostwithiel EP – R & S Records (2011) Bass Clef – Rollercoasters Of The Heart – 12″ – S/T – Punch Drunk (2011) Tin Man – Perfume – 2XLP – Perfume – Salon Records (2011)
Live interview with Johannes Auvinen of Tin Man fame! The neo-californian producer of finnish origins stoped by the radio for a chilled but insightful conversation after his show at the Rex Club.
Tin Man – Confusion’s In – 3X12″ – Acid Acid – Global A Records Fingers, Inc. – Bring Down The Walls – 12″ – Bring Down The Walls – Select Records (1986)
The ITW goes on as we chat about influences and various topics.
Tin Man – Cool Wave – 12″ – Cool Wave – Cheap (2009) A Guy Called Gerald – Moroccan Black – LP+12″ – Automanikk – Subscape (1990)
We conclude this ITW with a quick stare at the future.
Yesterday, I played CTI‘s seminal album during the show, more specifically the “Dancing Ghosts” track. What sets it apart is its historical inaugural use of both the Roland TR808 and TB303. Recorded in 1983, this anticipates a chicago trend that we’ve been eager to document in the past three years or so.
Anticipation is indeed one of the trademark features from the duo more widely known as Chris & Cosey, of Throbbing Gristtle fame. If you can’t hear Detroit coming in their 1982 Trance LP, you seriously need to check your ears!
Of late, Chris & Cosey have enjoyed a renewed interest from the educated masses, thanks to some timely reissues, their afford mentioned anticipation quality and a few DJs claimed love. What I’ve come to realize was missing in this second coming was the emphasis on the multimedia aspect of their work. The Elemental 7 came out under their CTI guise on Cabaret Voltaire‘s Doublevision imprint, a publishing company dedicted to video art as early as 1982! They published VHSs in both NTSC and PAL formats of their work and likeminded people, such as CTI. So thanks to the internet and globalization, here’s CTI‘s first published VHS for Doublevision, in four parts.
Let the re-discovery begin!
The spanish Hivern Disc label has in the past couple of years managed to launch the career of some of the most interesting current leftfield dance musicians. Pional and John Talabot are nowadays about to be big names. That automaticly tends to make us look closer at the label’s new releases.
And lately, a very limited 7″ found its way into our hands, and to our surprise, this split single’s B-side had even more to offer than the John Talabot A-side!
“Tormenta del Desierto” is the first wax track released from barcelonian duo Aster after last years download only Neon.
In my late teens, I “worked” as a guinea pig for a pharmaceutical laboratory called Aster for a couple of summer in order to pay for my holidays. I must say the stay there was a journey in itself, a pretty psychedelic one, not unlike the one our homonymous duo embarks us on. A rather cosmic affair, Tormenta features a beautiful cowbell/Tuned percussion duet in the midst of an ARP synthesizer and bass slo-mo slug-fest. It indeed works wonders and sets the duo on the map for the near future.
Wow… OK, sorry, I took Sunday off, shoot me! But thanks for the pressure anyways 😉
This one is a special case. Been tracking without success that piece of wax for quite some time now, but as it turns out it is as mighty rare as it is in high demand. Usually, that doesn’t matter too much as I’m dedicated and patient enough to find it all, but this specific album has so far managed to escape my shelves. Being the Chicago house enthusiast that I am, this belgium record from 1986 always struck a deep chord with me as, even though being closer to an Industrial/New Beat wave of sound, it clearly predates if not anticipate the second Chicago generation (or third), with Dance Mania and Dj Rush. I heard it once in a club and it contributed massively to shape the way I dance.
A side project of à;GRUMH…, Polar Praxis finally finds its way to my turntables thanks to the good folks from OnderStroom Records and their sublime hot-off-the-press re-issue of this classic lost gemm of choon. High time to share the secret!