We’ve got a new website.
On 17 April 2011 we moved over permanently to www.deepabsurdum.com and launched our ‘TV show’ called Basic TV. It’s a live broadcast across the internet to the whole wide world of some fabulous DJs.
We’ve got a new website.
On 17 April 2011 we moved over permanently to www.deepabsurdum.com and launched our ‘TV show’ called Basic TV. It’s a live broadcast across the internet to the whole wide world of some fabulous DJs.
Andre Lodemann proving that he is not just one of those artists that just sticks to what put them in the limelight or what is hot right now…His productions just keep getting better and better.
Andre Lodemann presents Don’t Panic EP (Room With A View)
Released by: Room With a View
Release/catalogue number: VIEW015
Release date: Apr 1, 2011
How to play the Otamatone.
Buy for just over £30 at Juno, it comes in black, white & gold.
Jus Ed & Move D‘s video for their new track ‘It’s A Struggle‘ released yesterday on digital only (points lost for no vinyl) has caused a bit of a stir at the office. Ed’s legendary label, Underground Quality, is seriously good and this track is… um… nice… but it could do without the video.
I really hate to hate on such a talented musician but, hey, any publicity is good publicity, right! Sorry Ed, we still love you.
Swedish producer Andreas Saag, a man that needs no introduction, is back once again with another brilliant release. Supported by the likes of Charles Webster, Iron Curtis & Soul Minority, it quickly becomes very apparent as to why once you give this a listen. The EP is titled “Leslie’s Vision” and features the very talented and good friend of Andreas, Filip Leyman.
The song is the result of a late night jam session between the two in Filip’s studio in Gothenburg.
Available in three versions, the original, deeper and deepest versions, there’s something for every occasion or DJ’s personal style. The deeper the version the more it is stripped down from the original while simultaneously becoming deeper with less instruments.
The original is the main attraction, rich with live instruments including a Hammond organ, live drums, old drum machines and analogue synths that truly bring the track to life. Andreas’ beautiful and captivating piano solo steals the show. All his emotion was poured into this 3 minute or so segment and is well and truly felt by the listener. This climaxes into a menacing low bass-line played on organ bass pedals which, accompanied by analogue synths, smoothly ease the listener out of this 10 minute voyage of a song. This song is well and most definitely one of the milestones in Andreas Saag’s producing years, a sure classic that will still be as beautiful many years from now. Available now on Room With A View.
Andreas Saag feat Filip Leyman – Leslie’s Vision (Room With A View)
Words by Andile Ayza Mahlaba
Here’s a song I used to love ages ago, not everyone’s cup o tea but it was an anthem back in 2001:
I had no idea about sampling back then and thought that this was a completely original piece of music. Only recently did I discover where this came from. Turns out Funky Junction sampled/remixed KC Flight’s song from 1991…
… and that KC Flight sampled The Police. The original song being Voices Inside My Head from their album ‘Zenyatta Mondatta’ which came out in 1980.
and finally, here’s a really recent edit done of The Police by Cronk Family Industries (The Revenge & Si from Deep Space Orchestra).
Berlin-based Best Works Records are back with their 10th release, staying true to their name with a powerful three track EP by veterans Christian Prommer and Jazzanova’s Alexander Barck aptly titled: Lovin’, along with a remix courtesy of Best Works co-owner Andre Lodemann.
A twist even more amazing than the Inception movie is perhaps too subtle a metaphor for the title track: Lovin’. It starts off with a slow and steady mid-tempo-like bassline, greeted by dreamy pads, subtle keys and a laid back vocal. Soon becoming more deliberate in its build-up (with the introduction of Prommer’s drumming pieces), and then… the listener is dropped down the rabbit hole. The tempo is drastically changed, highs are crisper, and a sultry female vocal is introduced – taking us all the way through Deep House wonderland. It really isn’t every day where you hear producers trying such daft experiments (successfully), but the experienced duo pull it off perfectly.
Everything about the Alex & Grizzly’s Dub will make you wanna bob, or at least move some part of your body. This, thanks to groovy basslines, inviting highs, playful keys, and some rather intricate kicks. Definitely one of the more dancefloor-friendly cuts on the release.
Lodemann makes full use of the vocals from the original, building effortlessly around them. In a remix which is more of a constantly building and changing journey, than just another re-arranging of patterns. Class deepness from the Best Works man.
The Prommer & Barck duo have given us a glimpse of their forward-thinking productions, and judging from this one, we’ll definitely be looking forward to their “Alex and the Grizzly” release, a first on the duo’s brand-new Derwin Recordings label – coming in April.
Prommer und Barck feat Lois Longerling – Lovin’ (Best Works)
Words by Daniel Gonsalves
Och is the latest incarnation of Autoreply boss Dicken Lean. Having released under Confetti Bomb on his own label, he keeps good company with an illustrious collection of artists that includes Baby Ford and Dan Curtin. However, it is this latest moniker that sees him explore a tougher sound compared to the more minimal leanings of before, with a recent release on PAL SL already drawing attention from the likes of Zip, Gerd Janson and Miles Sagnia to name a few.
Bombay Bedbath is tech house with zeal. It sounds like it was recorded in the very rooms the producer probably pictured it would (and should) be thundering through. The tumbling percussion and rolling bass immediately draws the listener in, even before the moaning vocalist reminds us that ‘it’s too late’. There is also a strange gritty ‘oldness’ that permeates the entire production (helped along somewhat by some beautifully original artwork). That bleak, bygone-era-with-a-modern-twist image is touched on briefly in the floating, breathy soundscape of Interlude Intuitive. In contrast to the tautness of the opener, Out of Key In seems like more of an introspective moment, it’s uneasy rhythmic snaps and lamenting de-tuned piano spiralling deep into melancholic, bass-heavy techno territory.
Sitting down to write this review, I am sadly restricted to my headphones, and thus I can only imagine the devastation these frequencies will cause at high volume. Obviously not content with evoking an emotional reaction through his music, the producer has also felt the need to evoke a physical one too! Broken down into it’s parts, each track offers something of substance to fans of that genre, but as a whole, this is an instantly classic-sounding record that eclipses current trends and straddles the timeline stretching from ‘then’ to ‘now’.
Och – Dickens Tracks (PAL SL)
Words by Robin Would
You would think a heart shaped vinyl that gets released just before Valentines Day would be something you buy on the home shopping channel and be rubbish but this is far from it, with both singers voices complementing each other perfectly over a subtle and beautifully arranged track. Valentine by Jessie Ware and Sampha is truly an amazing track.
Both artists are fairly new to our ears but what we have found in our research is a pair of talented people that are definitely about to blow up.
Came across this documentary that aired on Thames TV back in 1989, well worth the watch.
Stream above or click here for direct download
We will introduce this podcast’s artist with words from the review we did of his release Luxarama.
Esa Williams has been a very busy man. Between curating Red Bull Music Academy workshops and one of the residents at the popular Subculture nights in his adopted city of Glasgow, not to mention forming part of live act Sensu and DJing at some of the biggest festivals around Europe, Cape Town born Esa has somehow found the time to launch Rememory Music, a boutique label complete with unique vinyl artwork, as well as summon a few friends (who also happen to be some of Scotland’s, nay the world’s, finest producers) for remix duties on it’s first two releases.
Having already earned the seal of approval from the likes of Jimpster, Mixmag (House Tune of the Month) and EQTV.dj (Record of the Day), it is hard not to proclaim that 2011 looks to be a banner year for this young artist. It’s no secret that this blog holds a special place for fellow South African expats, so we for one will be paying close attention.
How long have you been in Scotland now?
I’ve been in Scotland 6 years but been living in Glasgow for the past four years and since my relocation here things have really kicked off. I can say that I’m very lucky to have arrived in Glasgow thanks to a very special lady in my life and to be able to really establish myself musically. That’s because it’s so hard to become truly founded as an artist in Glasgow as the city has lots of great DJ’s and artists operating. For a South African to be part of this music scene is such an honour.
How did you get involved with Sub Club? What is it that you do there?
I first got involved with Macsorleys Music Bar which is owned by the same guys who own Sub Club, just for the odd pub gig. They liked what I played and gave me the opportunity to be part of one of the longest running club night’s in the world with two of the most amazing DJ’s Harri and Domenic. I’m also involved with the Sensu club night where I do live performances with Barry Price and Junior Ingram, last year was a great year where we played some amazing festivals in UK and Europe, 2011 looks to be an even better one with the new live act project in the works.
Were you already producing and DJing in South Africa?
At the age of 16 I inherited all my father’s music equipment; turntables, PA systems, records and I was on the verge of selling everything, when one day after school I decide to try and connect it all up and to my surprise I managed to get it all working. I think from that day I started messing around and it went from playing birthday parties to running my own club nights in community centre and old factories.
A few other South African expats such as Portable and Lakuti speak of early 90s house parties in Soweto, what were your influences / what made you get into house music?
My Dad and cousins mixtapes and record collection got me into house and clubs in Cape Town like Club More, Deluxe and Sutra were big influences to the sound I play today.
Did you study music, what’s your background?
I studied sound engineering in Cape Town but the course focused more on live recording, audio and visual elements, where all I wanted to do was DJ and make electronic music. I think the three months I spent in Germany in 2002 visiting my uncle really opened my mind to electronic music, I remember sitting with him on the floor of his lounge with CDs all around and him playing loads of different things from Portishead to Marianne Faithful, Nightmares on Wax and the list goes on. He also took me to see DJ’s like Sven Vath, Chris Liebing and Miss Kitten and to clubs such as Panorama Bar, Bar 25, Tresor and my first dance festival Love Family Park.
What did you do for the Red Bull Music Academy?
I spent some time in Cape Town in 2002 and met up with an old friend who managed the Red Bull studio’s and did some work with him there, we discussed just before I returned to the UK that he’ll get me in touch with RBMA in the UK so when I got back to Glasgow I contacted them and said I would be interested in doing work with them. From that point I became their representative in Glasgow and organised events at Sub Club with artists like Josh Wink, Linkwood and House of Traps, Kevin Saunderson, Tony Lionni, The Bays and Graeme Park whereby they did small lectures which was all part of the build up to Red Bull Music Academy event in London last year.
You recently gave a talk at an Apple store in Glasgow, what was the talk about and how did that come about?
I work for the Apple Store in Glasgow and recently started an Ableton Live course at SAE Glasgow so the talk was part of a series of SAE workshops in the Apple store, one of which was me talking about Ableton and the different techniques I use when producing, remix and performing live with this software using my mac.
What are your future plans for Rememory and Esa? What do you have coming up?
A few releases with some cool artists and also working some South African artists. 2011 I feel is going to be a busy year for Rememory Music, hopefully the buzz of Luxarama will keep a level of momentum and focus in place. Also watch out for my Mervin Granger Live Set and Sensu’s version 2.0 Live sets in 2011.
Snoek or haggis?
Haggis Nachos, Haggis Pakora and Haggis, Neeps and Tatties!
1. Herbie Hancock & Quincy Jones intro/ Yotam Avni – Jay Dilla’s Dream
2. Jimpster – Inside the Loop – Alsace & Lorraine EP
3. Alfabet (aka Awanto 3 & Tom Trago) – Lap The Music
4. Roman IV – Lucy
5. Ripperton & Minz – Crack
6. The Gathering – In My System – The Revenge Remix
7. Fonos – La Senna
8. Makam – Love Life
9. Mervin Granger – Never As Good
10. Jef K and Gwen Maze – Want You Back
11. No Regular Play – Serious Heat – Art Department Remix
12. Alex Arnout – Click City
We recently did a podcast for Nitzan over at Fine Art Recordings, really enjoyed this as we were asked to keep it deep and not your normal dancefloor four to the floor which suited us just fine.
Greta Cottage – Workshop (Brun Submariner mix)
Stereociti – Waiting For Your Call
Sven Weisemann – Xine Rising
Ben Rouke – After Hours (Pier Bucci)
Blakkat – In This World (Blakkat Devotional)
Secret Syndicate – Freshly Sound (Main Voc)
Dollkraut – Loot
San Proper & Steven De Peven – Twif Twaf
Sect – Thieve Scrilla
Fred Cherry – Busride To The Zoo
I first heard about KSoul in 2007 with the release of the stunning Turning Point with Ra.H on Sistrum. 2 years later I found myself having to get in touch with him regarding his label Kinda Soul for my day job. I couldn’t believe my luck, to this day that song blows me away and little old me was getting to speak to such a magnificent producer. I have also spoken to Scott Ferguson about his magnificent label Ferrispark, so you can imagine my shock when I only discovered this beauty a week ago. It was released in December 2008.
It’s a great loopy affair not for your average dancefloor as the name might suggest Demon Otmas Ter Ed.
Where to buy it, well the vinyl is out of stock now but you can get it digitally here, the whole EP is worthy a purchase.
Special live / unplugged performance of I Wanna Be Your Telephone by experimental artist Jamie Lidell. The track comes off his last album entitled Compass which was produced by Beck. Lidell is known for layering tracks made with his voice into a microphone and performing the percussion and melody as a sequenced, beatboxing one-man band. Then over his augmented voices, he sings soul-inspired songs.
To watch the full interview go to:
Click here to hear the album version and the remixes by Bill Youngman & Tiga.
We featured these guys’ music before, which goes to say their music is the nuts (and not only because we say so). If you’re a SoundCloud addict such as us you would’ve most probably already come across them, if not you probably wouldn’t have. Up until recently they were relatively unknown with the exception of SoundCloud fame. However, we anticipate them to be the next big thing as they have a slew of top drawer releases due shortly (list and soundclips at the end). This interview will hopefully give some insight into the rise of an artist, we will catch up with them again in a few months to hear how it’s going… a sort of before and after.
You have over 3300 SoundCloud followers yet up until December you only had one release out. Explain to us how you got all these followers, or what you think is responsible for this SC fame.
Si – Chris and I have both been surprised and delighted by the amount of people who have followed us on Soundcloud since we first joined about a year and a half ago. When we first joined we had had 1 release out, on The Revenge’s Five20East label, but nothing following on from that, so when we finished a track, we just stuck it up on Soundcloud and if people liked it and asked for a copy, we would happily send them one. People like Cottam and James Johnston got in touch fairly early and supported the unsigned tracks we were putting up, and it sort of just progressed from there. The latter half of 2010 was when our SC, ahem, ‘popularity’ really started to take off, and some good labels on there started to get in touch about releasing our music.
I think you get out of it what you put in. I’ve been lucky enough with the job I work in to have time to respond to comments and messages when they come in, and through that, we’ve managed to build up a good rapport with a lot of people, who now always comment and support any new tracks when we upload them.
Yeah we’ve noticed you have a lot of well known DJs following you and commenting on SC, did you know these artists prior to SoundCloud? Perhaps give us a history of DSO, have you always been heavily involved in the music industry etc.? Si, you have another project, Cronk Family Enterprises, with Graeme Clark (The Revenge), how is it that you know Graeme?
Si – No, we didn’t know any of the bigger djs/producers that have subsequently followed us on SC. Prior to joining, Chris and I both had good contacts, people we could play our stuff to and get honest feedback from, but no, we’ve been able to reach a whole different spectrum of people as a result of being active on SC.
We recorded our first track, before the name Deep Space Orchestra even existed, in early 2006. I had just left Glasgow to move to Liverpool with my job at the time, and got hooked up with Chris through a mutual friend. In Glasgow, The Revenge and I, plus another friend, had run a night called the Good Vibrations Soundsystem for the previous couple of years, occasionally bringing in big guests like Jazzy Jeff and Kenny Dope, but more often playing to a half empty dancefloor on a Sunday night! I had known Graeme for a few years before that, as we worked for the same insurance company, and had become good friends. He gave me my first opportunity to get involved with making tracks, which gradually evolved into us recording as Cronk Family Enterprises, and releasing a couple of 12″s on G’s now defunct Five20East label.
Chris – Before we started recording, Si had got hold of a bunch of solo tracks I’d made on my own and passed them on to Graeme. They ended up coming out on Five20East at roughly the same time as Si and Graeme’s Cronk stuff – it was pretty low key, but off the back of that I ended up in touch with Domu and Atjazz, who both liked the release and asked me to do stuff for their respective labels. A track called Breakin’ Bread ended up on Domu’s “Here Comes Treble” compilation alongside some really great tracks by 4 Hero’s Marc Mac, Dorian Concept and a whole bunch of other people. Atjazz asked me to remix Clyde’s “Read my mind” single, which was round about the same time that Mantis closed down, which was unfortunate – that was a killer label.
Other than these bits it’s basically been me and Si plugging away in relative obscurity the whole time, though I’ve also been DJing a lot for the last 8 years or so and have been fortunate to play alongside some great DJs.
Explain how life was for you pre-December, how often you play etc. you know, pre- the ‘loads of music released’ fame.
By the time this interview goes up you would have 6 releases out, 5 being in the last month. And by the end of February you will have another 4 out (is that correct?). What do you anticipate will happen? What’s the dream? Have you noticed a change already, more interest in DSO?
Well I wouldn’t say that we were especially well known either before or after December, but it’s nice of you to say so! It’s good to have so much stuff coming out and we’re really happy with the amount of interest we’ve got off the back of the releases, but we don’t want to make any predictions about what will happen – you never know how things are going to go. We just hope that people like the records.
I guess the dream is the same as everyone else’s who makes music – we’d love to do well enough to be able to spend all day making music and playing records, but I think you’re very lucky if you get to that point, especially as people don’t buy records in anything like the numbers that they used to 10 years ago or so. At the same time, it’s always got to be a passion – never something that you have to do to pay the bills – so we’re pretty happy the way things are right now, to be honest.
What about DJing, any dreams/hopes of getting to play every good festival in the summer? That may be a rhetorical question :) The other day you moaned (a little) about not having time to do your own production because of all the remix work you have… that’s a new experience for you right?
Haha, yeah, we would love to get to the stage where we’re being offered the chance to play at things like the Garden Festival, Electric Elephant, Sonar, but we’re a bit away from there yet. Having said that, we are starting to get offered more dj gigs in the last month or so.
Remixing other people’s tracks is a funny one. It’s nice when you get asked to do a remix of a track you like in the first place and that has lots of nice, useable parts, and that you feel you can definitely take in another direction. We’ve been lucky in that up to now, that has pretty much been the case, with one glaring exception that I wont mention because it still makes me angry! The flipside of the remix coin is that sometimes we just want to do something new of our own, which we simply don’t have the time for when we have remix deadlines coming thick and fast. It’s not really a grumble because you’re still getting paid to do something you love doing, but I think we’d always rather work on original DSO stuff than anything else!
Maybe you’re closer than you think… with all these releases coming out now, this could be your summer!
Speaking of which, why are all the releases coming out at one time? Did you plan this?
Well, it would be lovely if that turned out to be the case. It’s weird how lots of things have finally come out or are about to come out in such a short space of time. It certainly wasn’t planned. In some cases, we had agreed the tracks and signed contracts nearly a year ago, and in the meantime, we’ve been able to set up our own label, Use of Weapons, from scratch and put out our first release.
How did you get them signed? Did people come to you purely because of the tracks on SC, or did you approach your favourite labels, or what?
It’s all been rather random. Some of the opportunities have come from being a regular poster on the Brownswood message board. Some of the members on there decided to do a compilation of tracks made by producers who posted on there. Kirk Degiorgio was drafted in to master it as he posts on there too. Our first submission caught Kirk’s attention and he signed it for ART and asked us to do a full EP. I met John who runs Winding Road as a result of being introduced to him by some fellow Brownswood forum regulars. Apart from those two cases, all but one of our other releases have come as a result of people hearing our tracks on Soundcloud and getting in touch.
The one exception to that is how we got involved with Jamie Jimpster and Delusions of Grandeur. We saw that he had given really good feedback to the promo of our ART release so we decided to send him a nice message saying thanks and that if he liked any of our other stuff, we’d happily send him a copy. This lead to him signing one track and us working on a 2nd for a Delusions of Grandeur EP.
What advice do you have regarding getting releases signed? Do’s and don’ts.
I would say that we’ve tried not to be pushy or in anyone’s face at all when it comes to sending stuff out to labels. I hate it when people are that way with me, so I would never want us to be seen to come across that way. We’ve been pretty lucky that the process of getting our stuff signed has been pretty organic, and in the process we’ve managed to build up a good rapport with the labels we’re being released by.
December saw the first release on your own label, Use of Weapons. Any particular reasoning behind starting the label, or has it just been a dream of yours for ‘like evaaaa’? What are your objectives?
There are a couple of reasons, really – first, we liked the idea of being able to put our own stuff out on our own schedule. If we’ve made something that we’re hyped about, it’s nice to be able to get it out there quickly without too much messing around. The second reason is that there’s so much good music out there that never gets released, so it’s exciting to get involved with a bunch of talented people – often musicians who we might not have crossed paths with otherwise. We’re lucky to have an absolutely amazing track from Cottam lined up for our second release and some killer remixes from Hunee and Neville Watson.
Well, apart from impending fatherhood on my side of things in April, we’ve got lots of DSO tracks due to come out in the next couple of months. In January, our releases on Winding Road, Foto and ART. In February, the second release on our Use of Weapons label and our Tracky Bottoms ep. We’ve also got a cracker of a remix on the first release on Cosmic Boogie’s new Boogie Originals label.
Gig-wise, we’re due to play twice down in London in the next couple of months, at Zombie Soundsystem at East Village and at Wayward, Norm de Plume’s night at CAMP.
Reductio Ad Absurdum wishes Deep Space Orchestra well deserved success.
DSO past and forthcoming releases: