Carl Craig, Brussels 1995
Photographed by Frédéric Leemans aka Phreddy Lee.
Happy Birthday to Mr Craig
Julio Bashmore - ‘Au Seve’
We love the paint perspective exhibitions & buildings recently, nice work…
by Joseph Egan
(Source: arpeggia)
Logo Swap - Graham Smith
(via helloyoucreatives)
Sebastien Tellier ‘Cochon Ville’ Review (Pulse Radio)
Sebastien returns with the second single from his recently released My God Is Blue LP, featuring remixes from Brodinski, Dimitri From Paris and more.
Credits: Matthew Crick
One thing that you’re never short of, when peering into Sébastien Tellier’s idiosyncratic and often detached mind, is an adjective. ‘Eccentric’, ‘ostentatious’ and ‘ridiculous’ immediately spring to mind, yet merely scratch the surface of the Frenchman’s boundless character. Another would be ‘odd’, which also describes France’s decision to project Tellier to the Eurovison masses back in 2008, as much as him acquiescing to it. However, you can’t help but think that this is all part of a spectacular act, the parody if you like, of a musician who is as unpredictably strange as he is richly talented.
The arrival of new Tellier material is never subtle or fatigued, and with My God Is Blue detonating last month, Cochon Ville is his first single and slice of imagination to be meddled with. This would be ill advised for unqualified folk, but Tellier seemingly chooses not to surround himself with these kind of people. Instead, as he nonchalantly flicks through his little black book, while feeding moon dust to his pet unicorn, presumably, he rounds up his most worthy, artistic friends – friends with immeasurable benefits.
Cochon Ville - the term referring to someone who’s into kinky sex (just watch the video for definition) - is again indicative of Tellier’s recent tone, dispensing some indulgent electrofunk and celestial synth-pop against his trademark wispy vocals. Dimitri From Paris pumps even more disco into its veins, somehow, but avoids an overdose with some lovely bass slaps. The Magician, who just had to be on the roster, pulls extra synth and bass licks out of the hat, while Brodinski steps forward with his fleshy tech-house interpretation, evoking images of Tellier nodding with wide-eyed approval.
Chicago-based Hey Champ completes the impressive formation by maintaining their love for infectious synth-funk that both Trevor Horn and Mr Oizo would acknowledge. But above all, Tellier has provided us with yet another reason why we should not only accept his quirky and avant-garde ways, but also embrace them with open arms.
labelfucker:
Rey & Kjavik - ‘Lora’
(Source: youtube.com)
(via unefoisdeplus)
My Roberto Rodriguez Dawn Album Review
Review by Matthew Crick
If, like me, your geographic expertise is limited, then you probably didn’t know that Helsinki is the most northern capital in the world – and, that Finland endures months of remote darkness, punctuated only by the arresting sight of the Northern Lights, replaced by the burning midnight sun throughout summer.
This habitat could easily be perceived as adverse for some outsiders, but for the more creative natives, in particular citizen Roberto Rodriguez, it’s acted as a constant and positive source of inspiration. At just the age of 13, possibly when the summer holidays craved to be filled with enterprise as well as fun, Rodriguez recorded his very first track on the Commodore Amiga 500. Ten years later, in 1997, the Fin released his first record, shortly after joining forces with compatriot producer Jukka Kaartinen.
Since then, and we can be slightly excused for skimming the surface due to high volume, Rodriguez has produced over 30 original recordings, plus a legion of edits and remixes which have done far more than just pay the bills – it has confirmed him as one of the true house music pioneers.
Similar to his homeland’s seasonal shift, Rodriguez’s debut album has been a long time coming, however Dawn has finally arrived. But before it bursts into life with the expectant sounds of techno and old school acid, the opening track ‘Tito’ allows you to wake calmly from slumber, after which ‘Show Me’ considerately splashes nice cool water on your face.
The subsequent three tracks, notably ‘I Believe In Love’, are welcome reminders of what Rodriguez is capable of when he chooses to get his hands a little dirty, so when you reach ‘Tell Me’, the lead single aided by the radiating vocals of Kholi, you know for sure that you’re in Rodriguez territory – surrounded by and fully taking in the retro-leaning synths.
With the prospect of another 12 tracks ahead (four of which are supplementary for the digital devotees) you hope that the album doesn’t run out of steam. Fortunately, what it does decide to do is take a slight redirection in both pace and energy, resulting in some beautifully eclectic, down-temp numbers such as ‘Eva’ and ‘Shibuya’, before momentum is restored once again in the floor-ready ‘Lies’.
Having said that, the vast majority of these tracks are in fact floor-ready, as well as being suitable for pretty much any other environment that simply acknowledges Rodriguez’s exquisite attention to detail and application. Dawn is likely to be on the horizon for some time, so make the most of it.
