“Monolith” is the debut release from Fingers Crossed Records founder Pilarion, and the Dubai resident makes his introduction in the best way possible. This techno triple-hitter is a dynamic project with dark melodies, vibrant beats and a mysterious aura. “Machinarium” powers up a throbbing bassline under lush layers of sound, the plinking of deep crystalline drips and warm percussion sprinkled liberally throughout keep this one running smoothly. Laid-back and beautifully layered, “Jukly” spreads a big bottom beneath frantic runs that chase each other flirtingly until the embracing breakdown, where the strands finally tie together in a hypnotic dance to the finish. Title cut “Monolith” lives up to its name with rumbling lows and a melodic groove that rises above lessor tracks before the pulsing pinnacle shines enough glamourous light to chase the shadows from the darkest corners of the dance floor. The Monolith EP doesn’t need any flashy gimmicks, but Pilarion delivers on the promise so many other producers never live up to: he gives us quality. His sound isn’t rushed, it isn’t fancy, it’s not overly complex, but it is precise. Everything fits together just-so and nothing’s left to chance.
This month marks the one-year anniversary of Scalectric Music. To celebrate the milestone they’ve put together a special EP featuring work from a handful of top producers who’ve been dropping bombs on the Spanish underground house and techno scene. I was pleasantly surprised by the five tracks I found here; they are upfront and in-your-face, what-you-see-is-what-you-get kind of cuts. No fluff, no unnecessary drops or empty hooks or bells or whistles. These cut to the chase and will knock you down if you’re not paying attention.
Label newcomer Town of Mind’s “Playing for Change” is a real powerhouse with great chuggin’ beats, disembodied voices whispering in the back of your mind and spacey acid zaps. Xar Lee’s “Loco Bass” is built around a simple sample, stretchy synths and a big bottom. Ekai’s “Why Women Hate Porn” might win the high marks on the release with its interesting layers, nice sample work and infectious acid-tech waves flowing in and out of the rhythm. Duosky’s “Beachfloor” is bare-bones 303 and big beats, but it works. Finally, Kike Henriquez’s “That Groove” is a strong song with acid yelps and 8-bit attitude. No classics here to be sure, but this collection packs a punch in a way that’s often missing from over-thought productions. Sometimes simpler is better.
There are few things more satisfying than having your cake and eating it too, and John Digweed’s Live in Montreal Finale is a rich three-disc dessert to top off the original six-disc main course. It’s the final piece of Bedrock’s biggest project to date; this punch in the sweet tooth is a retrospective look at Diggers’ epic eleven-hour marathon set from Stereo, spanning nine total discs. The Finale picks up where the original left off, with an underground attitude on a dark and sweaty dance floor, non-stop beats and pounding drums on driving techno and deep tech-house cuts. It’s Bedrock boomin’ all the way; big-energy music without the obvious anthems and EDM bro-hyms.
Disc 1 opens with Adam Beyer’s classic “What You Need” before rolling into the acid twists of Scuba’s “Back to Black.” The mix steps in line to march to snappy snares and thick kicks and techno riffs for a bit before easing into the wickedly infectious bassline and trippy leads of Clarian’s “Space Noir.” As the set finally plays out we’re treated to a variety of filtered sweeps, rolling snares and wet grooves. But we’re only getting warmed up. Disc 2 continues on, easing into the hypnotic drum-centric beats of Alex Millman’s “Maria Rosa” and then Clarian’s “Fear & Self Loathing,” followed by the glitchy “Like Flies” from Ben Techy. A few more acid burns, some bleepy bloops, and all too soon the second set is here and gone. Aside from the occasional sample, vocal tracks so far have been few and far between. Instead, the music tells the story through melody, rhythm, sound and emotion.
But as we turn to the last set, things change. Disc 3 rolls out the final chapter. Notables include the haunting Chemical Brothers hit “Sometimes I Feel So Deserted” and follows it up with a personal favorite, “Genesis” from Chaim. The finishing tracks have a softer edge and — no, maybe softer isn’t right. Maybe “less gritty” is more accurate. But there has been a definite progression across the discs, and Sunscreem’s “Perfect Motion” is exactly how this amazing set needed to close.
This is by far one of the best DJ mixes I’ve heard in 2016, and it’s just one more reason John Digweed has outlasted so many others and continues to stand above so much of the competition. There’s just so much great music packed in here that it’d be impossible to detail everything track by track. Where’s the fun in that? Besides, words only go so far. This post-script collection is one of those mixes that needs be heard to be fully appreciated.
On my short list of house music heroes, Murk’s Oscar G ranks near the top. Miami’s bearded beatmeister has always had a unique spin on four-to-the floor goodness; you’ll get groovin’ house, slow thumpin’ tribal-tech, a little Latin spice, and even some New York underground all rolled up in drums and delivered in a way that only the real OG can. But Oscar’s DJ sets are more than just a diverse collection of tunes; he makes the songs his own. Anyone can be a human jukebox, but this guy really understands the art behind DJing. Oscar is one of those rare jocks able to throw down a bumpin’ set that can impress the most jaded long-time house heads but still be fun for fresh-faced first-timers. He’s underground, yet accessible.
So you can imagine my giddiness when I got my hands on the promo for Beep My Boom, Oscar G’s newest double-disc project on the legendary Nervous Records label. Disc 1 opens with the Oscar’s signature sound on “La Voz” feat. Oba Frank Lords, namely heavy kicks and island percussions. It rolls into the crushing title track before dripping into the sensually sad musings of “Rain” fronted by Seri. Up next is the perfect dance floor burner “March of Noise,” and the mix continues to roll out the housey beats with highpoints like the warm and uplifting “Happiness” feat. Stryke before closing with “Feeling High” feat. Katiahshe & Oba Frank Lords. Disc 2 takes a more clubby turn but doesn’t lose the OG attitude. The tropical “Hanueando” feat. Pablo Fierro opens things nicely, followed up by Kenny Dope’s reflections on keepin’ things real with the uber saxy “Stay True.” Other standouts include “Azucar” feat. DJ Sneak, “Flavorish,” “Chusma” and “Take That.” All in all, I got exactly what I wanted from Beep My Boom. A little of this, a little of that, and a lot of sweaty dance floor action.
