Direct download: JGM_61_-_Le_Grand_Voyage.mp3

Q. You’ve been producing for over 25 years and yourself and along with a handful of other producers in Chicago were pretty much responsible for shaping the acid and deep house genres. In those early years did you get a sense from how people in Chicago reacted, that your music was going to go on to be so globally recognized and important?

A. I don’t recall even thinking very far ahead at that time. I don’t think any of the people who were around making music and doing releases did. I think everyone was just enjoying people paying attention to what they were doing at the time.

Q. I recall reading somewhere that the early house music producers were trying to emulate disco (and italo) but using drum machines and synths. Who were some of the artists that you were trying to emulate and who are your musical influences past and present?

A. Yes, disco and italo-disco were the styles that were being played at the clubs and on radio at the time, so they served as the blueprints since you wanted what you were doing to fit into the settings where the music was played. I didn’t have any “specific” artists or producers that I was trying to emulate, it was more the “flow” and beat-patterns that were what everyone was learning to fit into the beat-mixed settings.

Q. You’ve produced hundreds of tracks. Are there any particular ones that stand out and have a special meaning for you personally or were key turning points in your musical career?

A. Yes, quite a few but I’d say definitely some of the first few that I did, like “Mystery Of Love”, “Washing Machine” and “Can You Feel It” were my transition from playing drums in bands and my musical ideas being ignored. I guess it wasn’t very customary for drummers to have “music” ideas, just “rhythm” ideas. Then projects like the “Another Side” (Fingers, Inc.-1988) and “On Top Of The World” (The It-1989) albums were an opportunity to stretch out a bit with full-length projects as opposed to singles and ep’s. The two volumes of “Sceneries Not Songs” (Larry Heard-1994/1995) and the “Alien” (Larry Heard-1996) albums were all special and very therapeutic for me personally. The recording process on “Alien” was also unique and hard to explain but it was a challenge for me at the time.

Q. In recent years there has been a resurgence of rawer sounding music with producers like Chicago’s Jamal Moss and Tevo Howard continuing the lineage of the original house sound. What do you think it is that has made your music (and other early Chicago cuts) so enduring?

A. I’m not exactly sure but glad that it has stood the test of time. I have done many musical experiments, but for the most part, I just tried to make good music with good melodies. You know a good song sounds good no matter when you hear it, so they tend to have a timeless quality, if you’re able to get it right.

Q. A lot of your releases have space themed titles. Did you feel like you was making spacey, futuristic music when you first got your hands on equipment? and do you think that some of the charm of making music has been lost on computer based set-ups?

A. At the beginning, of course, I had no clue what I was doing. I was just happy and excited to have my hands on synthesizers after admiring and being curious about them in different bands I was in from the late 70’s through maybe around ‘83. I was just having fun for the most part. The “spacey” titles are actually inspired by the musical pieces themselves. Usually, I listen to tracks to get ideas for titles (and sometimes I’ve let friends hear music and they have come up with titles based on what the music made them think of). As far as computer based set-ups, the set-up doesn’t really do anything until a person sits in front of it and inputs information, so if that person is able to do something interesting and that people enjoy listening to, I don’t think the average person even cares how it was created. I know when I hear some music that I like a lot, I don’t really start to ponder whether it was done on a computer-based set-up or by other means. If it comes up, I guess it’s interesting to know but not something I specifically think about.

Q. Your label, Alleviated Records, has been around for 25 years; you’ve recently been re-issuing some of your harder to find tracks. What’s your stance on the re-issues of house classics? Do you think that some things are better left alone or does file sharing mean that it’s better for artists and labels to release everything?

A. I think it’s pretty much up to the individual labels. There are people out there who still enjoy getting physical records and those that collect them, so if labels and artists are able to do that, then I’m all for it. When you think about it, if anyone is going to make money off of the old records that people still enjoy and want to buy, it may as well be the official artists and labels than some bootlegger that shows up and does it. The patrons also get something that’s from an official source. Usually official releases grow in value over time if it’s a good release - I don’t know if it’s the same with bootleg releases.

Q. What else do you have coming up for Alleviated, any other tracks from the archives being released? And, are there any new projects that you’re working on, a new album hopefully?

A. We’re always throwing ideas around and I try to review the archives and see if anything jumps out at me. I’d like for people who have been following the music to get to check out some of the things that weren’t released. There are no specific details at the moment. We’re just doing it as we get ideas and as we’re able to.

Q. And finally, what keeps you inspired?

A. Usually, it’s “sounds” that inspire me. I always get asked about how I put ideas together but for me the sounds themselves spark the ideas. I just browse through sounds on my synths and keyboards and listen for the ones that grab my attention or are just fun to fool around with and go for it. Listening to music by other people helps a lot too. I’ve been buying since around 1970, so I have a pretty big collection of music. I also try to keep up with as much new music as I can. I don’t know if it’s just me, but it seems like it’s coming so fast that it’s hard to do sometimes, but I try my best.

Buy Alleviated Records at Beatport

Dutch label, Rush Hour, have been on fire this year. Not only have they been putting out new forward thinking music, but they’ve also been responsible for re-releasing classic hard-to-find house and techno. The much talked about ‘Frictionalism’ release from earlier this year, collects Anthony ‘Shake’ Shakir’s works from 1994-2009, which is essential, as is the self-titled Virgo album and the Rick Wilhite ep’s. The more recent Boo Williams release collects the best tracks from three ep’s released on Residual in the late 90’s. If you enjoy Boo’s releases on Relief and Djax then this is a must. As for newer material, Tevo Howard delivers his updated acid house sound on the double 12″ ‘Crystal Republic’. Although nothing mind-blowing it’s definitely a grower and the crisp production sounds great. Also worth checking out is the 12″ from FaltyDL ‘All In The Place’. FaltyDL delivers his usual unclassifiable sound that brings together 2-step, house and techno.

If you’re into Nu Groove and the deeper side of NY house, the International Dee Jay Gigolo re-press of the Bobby Konders collection ‘A Lost Era In NYC 87-92′ is a must, complete with cuts like ‘The Poem’, ‘The Future’ and ‘Slackness and Sax’. Another must is Ron Trent’s ‘Altered States - Blak Tech Society’, which collects the three tracks included on the original 1990 Warehouse release, as well as remixes and other recordings from that period. Absolutely timeless and both collections providing much needed relief to original vinyl versions.

.

.

Updating those deep sounds is Oakland’s Aybee and his Deepblak label. The forthcoming ‘Blaktropolis Vol. 2′ showcases new material from label regulars, Blaktroniks, Afrikan Sciences as well as Aybee, and also highlights some new artists; especially interesting is 17 year old Shen 7, who’s track ‘Void’, sounds beyond his years. Aybee also provided the thoroughly engrossing ‘Ancient Tones’ release on Seattle’s Further Records. There’s been a lot of interest around Further and their highly limited cassette only releases. At first I didn’t quite get the cassette only thing and the limitations that goes along with the format, however, a recent Resident Advisor article on Further provides some sound reasoning. For those without a cassette deck, it looks like Further’s vinyl experiment has worked out and we’re going to see the excellent ‘Ancient Tones’ on vinyl.

One of the key players of the genre defying sounds coming out of London at the moment, Floating Points, delivers (yet again) another massive record. ‘Peoples Potential’ has been doing the rounds for quite a while, however the flip side (’Shark Chase’) is where it’s at. It’s relentless jacking drums and bass, sound like it came straight out of mid 80’s Chicago. Absolutely devastating when played on a proper system. Other tracks meant for big systems, Levon Vincent’s ‘Double Jointed Sex Freak’, John Robert’s ‘White’, Mike Dehnert’s Dico EP and of course Wax 003.

.

.

Direct download: JGM_60_-_Nitzan.mp3

Direct download: JGM_59_-_thedetroitmixpt3.mp3

Massive guest mix from Sonic Sunset’s Dave Siska, recorded live at 222 Hyde earlier this year.

Artist - Track (Label)

1. Rod Modell - Space Age Mythology (Echocord) Info
2. Model 500 - Starlight (echospace detroit) Info
3. Motor - 7 (Audio.nl) Info
4. Shackleton - Death Is Not Final (Skull Disco) Info
5. Scuba - Speak (NakedLunch) Info
6. Resilent - 1.1 (Chain Reaction) Info
7. Quadrant - Infinition (Planet E) Info
8. DJ Pete - Latifah (Counterbalance) Info
9. Shed - Sweep Dreams (Ostgut Ton) Info
10. Helical Scan - Index I (Chain Reaction) Info
11. Agent Cooper vs. Thee Come Organization - Untitled (LL) Info
12. James Ruskin - Below (Blueprint) Info
13. 7th Plain - Pearl (Volume) Info
14. Pub - Summer (Vertical Form) Info
15. Monolake - Invisible (Monolake / Imbalance Computer Music) Info
16. Scuba - From Within (Hotflush) Info
17. Joy Orbison - Hyph Mngo (Hotflush) Info
18. CJ Bolland - Neural Paradox (R&S) Info
19. Millie - Path To Hell (Daphne) Info
20. Convextion - Solum Ferrum (Down Low) Info
21. Exos - Orangeblue (Statik Entertainment) Info
22. Baby Ford - Monolense (Ifach) Info
23. Dark Comedy - Solace (Elypsia) Info
24. Ben Klock - Gold Rush (Ostgut Ton) Info
25. Rene Lowe & Paul St. Hilaire - Faith (False Tuned) Info
26. Electric Birds - Frames (inc.us) Info
27. Pangaea - You & I (Hessle Audio) Info
28. Gez Varley - Le Soleil (Force Inc.) Info
29. Basic Channel - Octagon (Basic Channel) Info
30. 2562 - Enforcers (Tectonic) Info

Direct download: Just_Good_Music_4_15_10_-_Dave_Siska.mp3

Artist - Track (Label)

It was the 4-song EP “Ringer” in 2008 that caught my attention again. Sparse, minimal and more rooted in techno than anything else he had released before, “Ringer” seemed to signal Four Tet was moving into a different direction. Then, in 2009, Hebden collaborated with the celebrated UK producer Burial (an old high school friend), cooking up a gorgeous two-track 12” (“Moth” and “Wolf Cub”) that further proved Four Tet’s diversity. Yet, with “There Is Love In You,” Four Tet has truly broken new ground, a blissful musical journey that never seems to waver throughout all nine tracks. Though it comes off like Hebden is embracing a simpler structure, emphasizing more straightforward 4/4 techno beats, keyboards and synth washes that previous works, it’s clear the tracks are still complex and meticulously crafted the more one dives into them.

The album opens with “Angel Echoes,” a slow builder using a cut-up female vocal sample interspersed with a sprightly beat and crackly aural fractals. It’s a nice opening, setting the stage for the rest of the album, though it’s really “Love Cry” that gets the blood pumping. Eloquently layered, with an elegant slow build, creamy synths, and crisp, punchy beat, “Love Cry” is a smooth ride that just soars into the stratosphere. “Circling” opens with an enchanting harp string loop and a dull, throbbing 4/4 beat. Then, when the chimes kick in, your head feels awash with delight as the layers continue to build upon themselves, then back off and settling into a sparse groove, before the female vocal loops enter the picture and you’re swept away again. It even ends well, stopping with a sudden halt that works. “Sing” crackles with forward motion, with it’s driving 4/4 beat, choppy layers and clicks, whereas “This Unfolds” is exactly that, unfolding slowly and gracefully awash in twinkly synths and perky beat that feels like the aural equivalent of a relaxed smile on a warm, sunny day. While “Reversing” is short, subtle and tranquil, “Plastic People” punches the BPMs back up tactfully, as chirpy bleeps are interspersed with a shuffling beat and thin percussion. The final track, “She Just Likes To Fight,” actually succeeds in feeling like an album closer, combining stylish guitars with soothing keyboards and lazy beat, providing a graceful conclusion for the listener. “There Is Love In You” is the kind of album that improves the more one listens to it and just might Four Tet’s best album yet. There’s plenty of lovin’ to be had with this record. Now go get it.

By Tim Pratt

Buy album

The often otherworldly vibe begins with an ever-so-slight jarring opening via German producer Marsen Jules’ “The Sound of One Lip Kissing,” then segueing into the elegant, spacey sounds of bvdub’s “Lest You Forget,” a mishmash of echoey soundscapes, fragments of acoustic guitar loops and effervescent female vocals. Voigt’s “Zither Und Horn” is a slow, meditative tune that delicately melds acoustic instrumentation with atmospheric, high frequency tones. The Orb’s “Glen Coe” is a graceful, eloquent contribution; the lightly clanging gives way to rich layers of gooey aural goodness as if holding still in outer space. DJ Koze’s “Bodenweich” is a bit of an oddity, combining spooky vocal loops with flinty strings and sparse piano lines, making for a fairly unnerving listen. Dettinger’s return to Kompakt after nearly a decade-long hiatus with “Therefore” is a graceful, lightly clattering tune that is hopefully the first of many new tracks from the Cologne-based producer. Fehlmann’s ever-so-sparse “In The Wind” takes it time before settling in to a slow, sensuous mood, while Popnoname’s “Deutz Air” is yet another gorgeous, breathlessly layered melodic delight, setting the stage for Van Wey’s epically long album closer “Will You Know Where To Find Me.” Van Wey’s carefully sculpted layered ambient music often takes it time before the seemingly disparate audio elements begin to make sense to the listener, and this 17-minute track is no different. Yet, it’s the perfect way to end “Pop Ambient 2010,” an audio excursion best experienced in a prone position underneath a breezy, puffy cloud-filled sky.

By Tim Pratt

Buy Album

Artist - Track (Label)

1. Master C&J - Face It (Trax) Info

2. The Lower Eastside Pipes - Disorganized Corruption (Sacred Rhythm) Info

3. Ben Klock - OK (Ostgut Ton) Info

4. Ron Trent - Journeyn2u (Future Vision) Info

5. Black Coffee - Turn Me On (Gogo) Info

6. Missing Linkx - Who To Call (Philpot) Info

7. Fabrizio Ortella - Singtho (Deeply Rooted) Info

8. Satoshi Tomiie - Tears (FFRR) Info

9. Taho - Energy Fields (Delsin) Info

10. Barbara Tucker - I Get Lifted (Strictly Rhythm) Info

11. Peven Everett - I Can’t Believe I Loved Her (Nite Grooves) Info

12. Roots Orchestra - Kalabuta (Unrestricted Access) Info

13. Adonis - No Way Back (Trax) Info

Direct download: Just_Good_Music_1/29/10_-_Face_It.mp3

.

.

.

.

1. Reagenz - Dinner With Q (Workshop) Info
Jonah Sharp and Move D’s Reagenz project released their ‘Playtime’ album in late November. It’s everything that you could want from techno - deep and melodic, pushing analogue synths to their fullest (but never going overboard) coupled with a nice amount of live instrumentation. Highly recommended.

.

2. Pepe Bradock - The Path Of Most Resistance (Atavisme) Info
Pepe Bradock graces us with one of his few and far between releases. The “Path Of Most Resistance” see’s Pepe back in fine form with a track that is on par with “4″, “Life” and “Deep Burnt”. “PLAY SUPER LOUD!” indeed.
.

.3kk

3. Reggie Dokes - Chicago Pimp (Clone) Info
Reggie Dokes had a stellar year of releases. The “Chicago Pimp” 12″ was a fine way to kick-off Clone’s Loft Supreme Series - hipnotic, raw and jacking. Treading a similar path was the “Spectacle of Deepness” EP on We Play House as well as “Until Tomorrow” on Royal Oak. Quality music from one of Detroit’s most consistent producers.

.
4. Big Strick - Black Talk (FXHE) Info
2009 was the year that Omar S finally got the wider attention that his music deserves. Omar S was responsible for 2 great EP’s, ‘Still Serious Nic’ and ‘Blown Valvetrane’. Both releases didn’t deviate too far from the raw, jacking sound that Omar S has become known for (and a sound that has seen a resurgence over the past couple of years). Omar has also shown a knack for uncovering previously unknown producers and releasing their music through his FXHE imprint - Kyle Hall, Luke Hess, Jason Fine and Jus-Ed in previous years and Big Strick this year.

5. Levon Vincent - 1000 Miles From Home (Novel Sound) Info
Levon Vincent also gained a lot of attention this year. Last years “These Games” EP on Levon’s Novel Sound imprint was a sign of things to come and this years ‘Six Figures’ EP kicked things up another level. Riding the fine line between house and techno, Levon’s deep, hypnotic sound struck a chord with many.
.

6. Kassem Mosse - Untitled (Workshop) Info
Another great release from Germany’s Workshop, this time from Kassem Mosse. The dark analogue sounds and textures on both “Untitled A1″ and “Untitled B1″ remind me a lot of Robert Hood’s productions and prove how effective simple programming can be. Kassem was also responsible for this fine ambient piece.
.

7. Marco Bernardi - Mystery Of Nazerus (Clone) Info
Another one from Clone who along with fellow Dutch label Rush Hour have been responsible for some of the best new releases this year (Reggie Dokes, Tevo Howard, Rondenion, Mike Dehnert) as well as re-releasing older hard-to-find material (Da Posse, Daniel Wang, Anthony Shakir, Rick Wade, Rick Wilhite). Consistent quality and impeccable taste from both of these fine labels.
.

8. Nick Chacona vs Deetron - Dawn (Stilove4music) Info
Although Chicago’s Still Music and Past Due have been dormant for the past couple of years, sub-label Stilove4music is still pumping out fine records. This years highlights included releases from Rahaan, Bruce Ivery and the amazing Deetron re-working of Nick Chacona’s “Dawn”.
.
.

9. Moody - Freeki Mutha F cker (KDJ) Info
Released in December of 2008, “Freeki” didn’t make it into my “Best Of” mixes from 2008 -  too good to not be included this year!
.
.
.

.
10. Zomby - Tarantula (Hyperdub) Info
The always innovative Hyperdub celebrated it’s 5th anniversary - quite an achievement in today’s environment. Add to that achievement two of best albums of the decade (Burial’s self-titled and ‘Untrue’) as well as a roster that is pushing dub-step and bass sounds into new directions - it’ll be interesting to see where Hyperdub is at when it celebrates it’s 10th anniversary.
.

11. EQD - EQD B (EQD) Info
Another release that didn’t quite make it into last years ‘Best Of’ mixes and again way too good to not be included. Rene Pawlowitz’s EQD moniker combines the best of Detroit, German and English techno influences and creates a truly unique sound. EQD #3 has just been released and again it’s an absolute must have record.

.

Direct download: Just_Good_Music_12_29_09_-_Best_Of_2009_Pt.2.mp3

.

2. Cottam - Cottam#2 (Cottam) Info

3. Rainer Trueby - Ayres Rock (White) Info

4. Chez Damier - Why (Mojuba) Info

5. Lawrence - Jill (Mule) Info

Direct download: Just_Good_Music_12_16_09_-_Best_Of_2009.mp3

Direct download: Just_Good_Music_11_17_09_-_Aint_It_Time.mp3