God Vol. 1
God Vol. 1 (a.k.a. N.i.c.o.l.e. and Gel Set) has ascended to the “Second House.” Like, I’m talking next level lounge at a steady BPM, complete with diva vocals and ice cold pepper snaps, trailing synths and a fluxed base, bebopin’ chip-bitting, and the occasional psyche-out lyrical effect. It’s like at the end of the night when losing everything is the M.O., and gaining access to the “Second House” is pretty much the after-after-after party. God Vol. 1 just started their timeline as a duo in R. Kelly status. Shit, even if you’re NOT at the club and just barely hanging on to 4 AM, pop “Second House” on repeat, and feel the never-ending pulse of the night.
In a nutshell: we’re producing irreverent (and sometimes sweet) Chicago style throwback jams. “Second House” is our first official track as God Vol. 1. The song is a house tinged slow burn about “relations” with a wealthy suitor. Sex, mystery.. scandal! We’re currently in the process of finalizing our debut album of 6 tracks which we plan to unleash this summer.
If you didn’t already feel the sweat of this track beading your brow, then that blockquote probably just took you to the steam room. And if you don’t already feel the steam room effect of God Vol. 1’s vibe, enter “Second House.” They got like 15 steam rooms there and a dozen saunas and four whirlpools and a jacuzzi the size of an Olympic pool. I’m not fucking with you!
Follow the wealthy suitor duo God Vol. 1 to their “Second House” below:
Loibner & Bruckmayr
The rhythmic foundation of “Further” is a squeeze tube of friendly squirts. Propellers catch the breeze of the squeeze and start hacking. The squirt hits the fan. Some wrung droplets splash into the vocoded mouth of a friendly beast, a wordless vocalist, who exhales erotic / alien gasps and gulps while seated “in the quiet slipstream / in the thunder.” (Neil Young)
It’s a smooth ride in the slipstream, thanks to the washed-behind-its-ears production, despite the herky-jerky mania of the arrangement. It feels like Another Day On Earth, or a journey through a backstage labyrinth, or a series of exit lines, every one of ‘em soothing.
The Fleet EP
Snow Ghosts have thrown their driving track “The Fleet,” an Ian William Craig remix of “Circles Out Of Salt,” and a live rendition of “And the World Was Gone” onto a digital-only EP, curled up in a weathered bottle and cast by marooned beasts into the stream below. The originals to all three appeared on their February release A Wrecking, an album that was first to feature Oliver Knowles (of EXES) alongside original members Ross Tones (a.k.a. Throwing Snow) and Hannah Cartwright (a.k.a. Augustus Ghost)
It’s a solid EP, too. Ian William Craig (whose A Turn of Breath caught the #6 spot on our Favorite Music Releases of 2014 list) hands in a blazing remix of “Circles Out of Salt.” In his version, Cartwright’s vocals are shot at speeds known only to angels and demolitionists at the exact moment a loop is reversed — a realm almost non-existent yet celebrated by divergent realities. The Fleet EP becomes a small but comfortable home for Craig’s soaring remix, which shares a vanity with a clean, burly live rendition of “And the World Was Gone.” Here, rent is never due, and no one eats your food.
The Fleet EP is available to purchase via iTunes and Houndstooth (one of our favorite labels of 2014) and can be streamed on Soundcloud or Spotify. Houndstooth also has a fierce-looking Snow Ghosts t-shirt featuring artwork from The Fleet in their digital shop, so grab them while the ink is fresh.
“THIS IS MISTER WALLACE CALLING” (DJ Earl Remix)
Teklife extraordinaire DJ Earl remixes Mister Wallace’s “THIS IS MISTER WALLACE CALLING”, transforming it from a very live-feeling ballroom and house track into a footwork & techno-influenced beat without sacrificing the feeling that Mister Wallace’s vocals are very much in the room. Both DJ Earl and Wallace (of Chicago’s #FUTUREHOOD collective Banjee Report) are interested in showcasing the liveness of electronic music, that ability to create an experience that fully embraces computers without anonymizing the organic elements that come from the human being. The listener feels as if they know Wallace even though they’ve only heard a small number of words. #FUTUREHOOD as a term for the remix seems appropriate, as it acknowledges the queer, community-oriented beginnings of house music by only featuring Chicago based artists with an emphasis on a queer vocal and a sound that reminds us of the original house sounds, but simultaneously feels very 2015. Perhaps that’s because of the sci-fi synths, or the computer aided vocal repetitions, or the house sounds on a very quick BPM. In any case, it’s clear the production doesn’t fall into overprocessing to make it sound futuristic, but trusts its own consistency in order to bang on the dancefloor.