Minimal house anthems

sodiumnightlife

Sweet Virginia
yes that loco dice is amaaaaaaaaaaaaaazing. really really good.

Here's a little mix i did when i was bored of some stuff i've been feeling recently. If anyone's interested.

1. Ole (mortiz von oswald remix) - Tony Allen
2. Man lebt nur zweimal - Burger Voigt
3. Transit (King Britt Scuba Remix) - Sebo K and Metro
4. Son of Raw (Loco Dice Remix) - Dennis Ferrer
5. So Tight - Lukas Greenberg
6. Stainless - Sven Weisemann
7. Balandine - Ame
8. 8.1 - Rekorder
9. Baby Kate (Sascha Funke Remix) - Heartthrob
10. Rainbow Delta (jermome sydenham remix) - Len Faki
 

elgato

I just dont know
no way! especially the a-side is stunning - hypnotic, delicate, beautiful.

i shall have to give it another few listens! i guess on first impressions i was just quite unimpressed by how little seemed to have developed... Luciano has constantly been evolving and experimenting, but these sounded a lot like quite a few of his older tracks. but i may have jumped to unfair conclusions

the mekong delta/rainbow delta remixes are devastatingly good as well...serafin's forthcoming on mountain people sounds pretty tasty too....there's just too much good stuff coming out at the moment!

yeh the Sydenham mix really got me the other day. interesting that Ostgut seem to be moving away from minimal in any sense now... fat sounds have been the order of the day for a couple of releases...

looking forward to the Serafin, i've got a lot of time for him
 

Chris

fractured oscillations
I definitely wouldn't say there is a Barcelona sound in terms of production (largely because there are so few producers here, if we're talking about house/techno). Factor City is doing some great stuff, at times strikingly original (that Lontano remixes 12" is great) but they're generally following in the shadows of Bpitch/Kompakt/Get Phys... The only other label of note I can think of, Galaktika, is ballsy electro-house. For whatever reason, I think BCN has produced far more DJs than producers. And another frustrating thing about this city: the clubbing public isn't very adventurous at all. Generally they either like it hard and loud, or minimal and tweaky, but in the most general sense. I think a lot of it has to do with the closing hours here (5 or 6am) and the fact that people don't go out until 2 or 3am, so there's really only a few hours of proper clubbing to be had (and no real afters). So there really isn't anything but a peak hour, by default.

Oh well... Probably still way more happening house and techno-wise than where I live, to say the least. Maybe a particular sound will develop there over time...

Still, can't wait to visit the place!
 
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childrentalking

Well-known member
Philip: it's not a soundboard mix cut out. Someone's been stealing unattended CD-Rs. I rarely get pissed off at leaks, but this one annoyed me. It's not intended for standalone listening, rather like Fizheuer. It's an excellent idea designed for his sets. Little things like this eat in to what I expect he's trying to achieve with his Fabric disc. (I hope the mental japanese woman track is on there). Congrats on the Wire cover story by the way. Took them long enough but better late than never (although Wiley and Villalobos so close together -- looks rather like an ILM reader's soulseek shares from 2003). Will be good to read an interview where he's had a chance to give his thouhts in a language he can actually speak properly, as I'm assuming you have fluent Spanish. Hope my local shop gets a copy soon...

elgato, the Luciano definitely isn't a progression production standards wise, but it's much better than the majority of his releases in the last year. that EAT split track was bad, For Disco Only terrible (you might like the Mercedes Sosa sample, but the backing track, ech -- check ANY of his sets from the year or two previously to see it used better), No Model No Tool well -- a tool. It's not on the same level as Father/Solomon's Prayer but I'd say both sides are well above snuff for Luciano SOLO tracks (as opposed to his collaborations). A is gorgeuous. Perlon definitely on fire since the purple sleeves began, a second golden age for sure (to be continued with that Soul Capsule and the Melcior LP!!)
 

elgato

I just dont know
elgato, the Luciano definitely isn't a progression production standards wise, but it's much better than the majority of his releases in the last year. that EAT split track was bad, For Disco Only terrible (you might like the Mercedes Sosa sample, but the backing track, ech -- check ANY of his sets from the year or two previously to see it used better), No Model No Tool well -- a tool. It's not on the same level as Father/Solomon's Prayer but I'd say both sides are well above snuff for Luciano SOLO tracks (as opposed to his collaborations). A is gorgeuous. Perlon definitely on fire since the purple sleeves began, a second golden age for sure (to be continued with that Soul Capsule and the Melcior LP!!)

Its not really in terms of production standards that I mean, rather just general innovation. His best tracks all stand out so much for their individuality. I did choose to ignore the Eat split! Really weak. And as you say No Model No Tool doesn't really count on the same register, although for that reason I really rated it. I must say I love the For Discos Only, although what you say may well be true. But as I say, I intend to give the new one another go, its quite possible I just wasn't in the right frame of mind for them and I made a snap judgement.

A new Melchior LP sounds very appealing
 

childrentalking

Well-known member
For Disco Only's appeal rests entirely on the Mercedes Sosa song. If you pay attention to the backing track, it's substandard. and the flip is dreck. when I have time (might be a couple of weeks) I'll make sure to send you a 40 minute cut of a set where he uses the sample over a couple of Voigt's Studio 1 tracks that will blow your mind.
 

dogger

Sweet Virginia
For Disco Only's appeal rests entirely on the Mercedes Sosa song. If you pay attention to the backing track, it's substandard. and the flip is dreck. when I have time (might be a couple of weeks) I'll make sure to send you a 40 minute cut of a set where he uses the sample over a couple of Voigt's Studio 1 tracks that will blow your mind.

re: for disco's only - obviously the most arresting element of the track is the vocal, but i wouldn't call the backing "substandard", sounds to me more like luciano on cruise control. not as crisply produced as his best, no doubt, but functional.

actually there was a similar issue re: impact of track in a set versus impact on record with fizheuer: i remember philip sherburne making the point somewhere that villalobos (and luciano) made better use of the track/tool in their sets than you or i could, and the impact of hearing it for the first time, bursting out of the mix, is not something that's going to be repeated with a home listening (having said that when i finally heard fizheuer outside of a club i actually got pins and needles from the "oh fucking hell THIS tune!" recognition factor - and a similar if slightly weaker reaction with FDO). i know it's slightly different with FDO because luciano was using the vocal as an acapella in his sets, however he played FDO (i.e. the whole track not just the acapella) at fabric this year and i have to say i was loving it in that context...

the b-side of FDO is still shit tho :)
 

childrentalking

Well-known member
ha, I (and I'm sure many others) made that point re Fizheuer long before Sherburne wrote that Pitchfork review. Loved it being released for the same reasons you did (reliving the joy etc).

FDO -- he obviously just picked one of his tracks off the cutting room floor and stuck the vocal over the top of it. the weird thing about the Sosa is it's not an acapella, it's the whole song. the only backing is some tamburine shaking and a quiet drum. my problem with it is it's better just listening to the original song (the Mercedes Sosa) and sticking your own random minimal drum track of choice underneath it. (in my opinion anyway)
 

childrentalking

Well-known member
and the backing track is definitely substandard compared to the new Perlon 12", which is great I think. Not quite as good as Bomberos/Octogonal, but that was nearly two and a half years ago now, and is definitely his best SOLO 12 where I'ms at.

(anybody else think he's at his best with a collaborator, even as a DJ? Luciano + Craig Richards tagteam is thee shit, as is Luciano + Zip, Luciano + Ricardo etc)
 

dogger

Sweet Virginia
ha, I (and I'm sure many others) made that point re Fizheuer long before Sherburne wrote that Pitchfork review. Loved it being released for the same reasons you did (reliving the joy etc).

FDO -- he obviously just picked one of his tracks off the cutting room floor and stuck the vocal over the top of it. the weird thing about the Sosa is it's not an acapella, it's the whole song. the only backing is some tamburine shaking and a quiet drum. my problem with it is it's better just listening to the original song (the Mercedes Sosa) and sticking your own random minimal drum track of choice underneath it. (in my opinion anyway)

interesting that the backing from the Sosa track is there as well - hadn't noticed that before. i think you're probably right re: him using an old/spare drunk track...
 

psherburne

Well-known member
Re: Luciano FDO: I LOVE the Sosa side, unconditionally, can't recall ever having problems w/ the backing track. And while I long hated the flipside, I've recently re-discovered it. Not something I want to play all the time but every now and then, it hits the spot. ("Technical supporters" may be an issue here.)

Re: Primer Encuentro de la Soledad Latinoamericana: A filched CDR would certainly explain the reason that there's no perceptible mix-in or mix-out in the recording that leaked. That's really extremely fucked. I'm ambivalent about leaks; depends on the context. But in this case, if true, that's just out-and-out thievery, really depressing.

The Wire piece is stiched together from an interview I did last summer in Spanish (which ran abridged in Trax magazine, RIP) and another I did in English this summer. If I ever find the time I'm going to try to polish the transcriptions and post them on my site. Not sure if I'll ever get around to translating the Spanish one but hey, that's what Babelfish is for. Ha.

Speaking of FDO, who did Magenta, with the OMD mix on it?
 

childrentalking

Well-known member
Magneta: Tobi Neumann I think? (or was that the first one).

the backing track isn't offensive per se, just seems like a lazy release to me. I'd rather just nick his idea of the Sosa song and play it over a track of my own choice. different folks, etc though.

Do you have the text of the Spanish one available electronically anywhere?
 

psherburne

Well-known member
sadly, i don't. i'd send it to you as a word doc but it's in desperate need of cleaning up. hopefully one of these days i'll get around to it. busy + lazy = backlog.
 

childrentalking

Well-known member
interesting article. confirms a lot of my thoughts about him (esp the whole DJ set as extended clit tease rather than bang bang bang bang, to filth up his metaphor a little).

ps I've done my fair share of technical support, and I'm not sure what operating manual could fix that NERD edit
 

Lichen

Well-known member
yes that loco dice is amaaaaaaaaaaaaaazing. really really good.

Here's a little mix i did when i was bored of some stuff i've been feeling recently. If anyone's interested.

1. Ole (mortiz von oswald remix) - Tony Allen
2. Man lebt nur zweimal - Burger Voigt
3. Transit (King Britt Scuba Remix) - Sebo K and Metro
4. Son of Raw (Loco Dice Remix) - Dennis Ferrer
5. So Tight - Lukas Greenberg
6. Stainless - Sven Weisemann
7. Balandine - Ame
8. 8.1 - Rekorder
9. Baby Kate (Sascha Funke Remix) - Heartthrob
10. Rainbow Delta (jermome sydenham remix) - Len Faki


The track that begins at 44mins is the standout out for me. Which is it?
 

elgato

I just dont know
A is gorgeuous.

Having re-assessed I wholeheartedly agree that its quite incredibly beautiful! Thanks for shouting me down! I'd have missed out otherwise

Still think the FDO release is sick though, and I completely rate the NERD edit, I love the fact that its so raw and rough, its refreshing in a scene so obsessed with production value. Same with the Villalobos Rhythm & Sound remix, it brings a different vibe
 
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