“I’m Not A Player I Just…” (Margaret Antwood Remix)
Major thanks to the internet (and really to B.YRSLF Division) for uniting artists Ducky and Margaret Antwood, who both have upcoming releases via the label this year. This Antwood remix, featured on Ducky’s very-much-anticipated forthcoming 6/30 release, unites their two disparate sounds seamlessly while still maintaining the ‘extremes’ that define Ducky’s and Antwood’s work. Ducky’s soothing, repetitive talk-sing vocal sequencing is first layed over Antwood’s direct and minimal beat (seriously, we’ve never heard such use of silence as content than in Antwood’s production) very simply, reminescent of so many house tracks, up until the ninety second mark, where Ducky’s vocals randomize and the beat starts becoming even more minimal and bizarrely patterned, moving into an almost grimy texture (though it’s hard to define either’s work as a genre- both artists seem to be experimenting with house and club music- Antwood mixing in grime sounds and Ducky with pop & R&B). On “I’m Not A Player…” Ducky’s work breathes life into Antwood’s robotic gestures, and symbiotically Antwood makes Ducky’s work colder, sucking any bit of sugary sweetness out. B.YRSLF Divsion is uniting so many producers who are reinterpreting club music in completely different ways but still flexing on the same palette of sound- stay tuned in the near and far future to see what they reinvent.
PWNED by nature EP
Basically, if your techno smacks of overproduction, even a little, then you’re a huge narc. Forget about it. Don’t master anything. Don’t act like you can pinch saw waves into rose thorns and send em through a low-pass filter and everyone will come out the other side unscathed. Don’t act like your grooves are so high above us that you need a wooden podium and a couple thousand squids-worth of equipment to separate beat and audience.
Keeping the plebs in there place, huh?
Mark my words: Katzenstreu is taking all you limp-wristed house-heads to the pillory, and reclaiming the dance-floor for goons and goblins of the grubby, cock-roached dungeons and warehouses of the Western World. This is dance music for the tag-team boiler room orgies soundtrack’d by a symphony of enslaved SNES machines, spines snapped and sweating it out on the hardest level of Battletoads II. This is not your tattoo and espresso aficionado outsider house. This is also not German Army, but that should be OBVIOUS, because its le matin’s HLM side project: Katzenstreu. I’m gonna be honest, I still haven’t figured out what post punk France’s fascination with going all Yo! Stephen Wright Raps! on the track, but I had all sorts of weird, beautiful cravings after attempting to digest this EP, and for that, I thank you.
“With such solidity is this huge mass constructed, that the lapse of ages has been totally unable to destroy it, seconded as it has been by the people of Heracleopolites, who have marvellously ravaged a work which they have always held in abhorrence.” -Pliny (the Elder.); The Natural History of Pliny
“From such scanty remains it is hard to settle anything” -W.M. Flinders Petrie; The Labyrinth Gerzeh and Mazghuneh
Maneuver the ruins of the labyrinth - rustling swiss leaves; scooting across ash tray sand. Nothing will be remembered, because no one was there, or, if they were, they were distracted. No difference between left and right, from column to column. This equality, or confusion, may incite panic in some. In others, racing thoughts slow down to a crawl, like a baby, smooth as a steamroller. All one has to do is follow along with the machine through its repetition, deviation, and confusion. In this labyrinth, there is less distraction and hedge, allowing sunlight to blare. The concrete seems harsher and the traffic louder. The intersections are cluttered. The traffic lights are blinding. Rainfall has nowhere to go. It sits in puddles. From puddle to puddle: empty space–wide lanes. Squinting, those who panic, panic more, between puddles, as they turn a new corner, and another corner, identical corners.
Justin Marc Lloyd
Elysium Cove Mirror
Justin Marc Lloyd has been shoveling a musical path towards mutant consciousness for years now, releasing a vast and constant flow of tapes, 7” records and CDs under his own name, as well as with various other bands, side projects and aliases. His own Rainbow Bridge imprint has been responsible for the majority of his recent output, but Milwaukee based DIY orginazation FTAM is the one behind his latest c40, entitled Elysium Cove Mirror, which is a real barn burner, if I do say so myself.
The album is sort of like huffing a sharpie while driving, then parking and staring at gas station pump for an hour. Meaning, you’re close to insanity, and the contents in front of you could lead to your ascension into total metal loss, but the ground is still solid, and the fumes pouring out around you just accent your fringe teetering.
Please, don’t be a blockhead. Use those fucking bones and muscles and flesh you call fingers to scope the madness that is Elysium Cove Mirror right there below. Make sure to grab a copy of the cassette too, because knowing his track record, this is probably going to be the last time he will EVER put forth a physical object of music EVER again.
• Justin Marc Lloyd: http://www.justinmarclloyd.com
Since 2009 or so, I’ve started each new year with a proclamation, “Techno and dance music is dead. It’s all boring as fuck now.” I typically ignore new releases and either stick to “the classics” or explore a new genre altogether. By the mid-point of each and every year, however, I’m back on the T-train, if you will. Fort Romeau, aka British producer Mike Greene, has been throwing down some very sleek house jams in 2k15. His latest LP, Insides, was very, very good (maybe even my fav album of the year so far?) and, not one to rest on his laurels, he’s back with a new single on Running Back. Fairlight makes extensive use of the titular synth, especially on the track “Saku,” which is streaming below. The thing I love about this dude is that his tunes are all about the slow building groove, and what he may lack in flashiness he more than makes up for in super tight tracks. This is some deep, unpretentious house that’s sure to please the purists and the novice listeners alike. Like a pale ale on a hot summer afternoon, this one goes down real smooth :)