DHS moves inexorably forwards - one more selection each and then it's into double figures. Next landmark will be the 1000th selection...
But a period of reflection before progress; the last ten...
Slacker - A Million Dreams: there have been a few 'scene' deaths in recent months and given the relative youth of our generation they're all no-doubt tragic to greater or lesser extents. But, by and large, the deceased were just names - not even acquaintances, let alone friends - and so the tragedy can be acknowledged but not really felt. Slacker/Shem McCauley's recent passing absolutely fits that niche - he wasn't a friend - for heaven's sake the only time I ever met the man was through his recordings - but something about his passing affected me more than I expected. Yes he did some good records and remixes, both as RAMP and Slacker but I think what resonated with me more than that body of work was his story. He rode the wave of 'house success' from the mid 90s for ten years or so, became thoroughly disenchanted, disappeared, laid musically low, changed tack, found some peace and got drawn back to his passion. Started making music again and then, tragically, died. Yes, I've listened to a lot of his RAMP/Slacker tracks/remixes again recently - none are bad, some are great, most have dated. This latest album of his isn't dated in any way. It's a proper album, and the fact he did it on a laptop in a coffee shop in Thailand, with no engineer/production/support, only makes it more admirable. I won't go on any longer but I'm glad H chose to recognise the album. My favourite track on the album is 'Come With Me' which, without getting daft about it, is unwittingly soaked in the melancholy which his passing has engendered in many - chilled and chilling.
Scuba - Before (After): the man did a couple of the best tracks of last year - this is much lower energy but still lush. I have a daft, personal, issue with the fact he deliberately works some 'needle-on-old-vinyl-crackle' noises into all his productions - but aside from that, yeah, this is nice.
Photek - Aviator: Photek has been (for far too long), on the list on names that I've intended to give more attention to - takes a very good producer to occupy/switch/straddle several distinct genres and this lad seems to have been mastering house/techno/d'n'b AND exploring all the gaps in between for a good little while. This track is lush and right up my alley.
Maceo Plex - Can't Leave you (Tale Of Us Remix): MP and TOU (along with Edu Imbernon and Maya Jane Coles) summed up what I bought to play out last year. I was on this early, played it endlessly and still love it.
Sei A - Frozen Flower (Midland Remix): I've got several Sei A productions/remixes, plus I am one of Midland's main biatches so this is a nailed on success. Except... Except, somehow, it never quite rises above being 'functional'. They've both done much, MUCH, better work.
Flash Brothers - Hazy March: I've got to be honest and say that it was the breakbeat remix of this that was preferred version - this is not in any way bad though - the break 2/3rds of the way through is lush - could just be my ears but it doesn't sound like the best (sound) quality on Spot - sounds a bit like a below standard mp3 has been offered up - sounds bit harsh at both ends of the spectrum?
Dosem - Don't Look Back: sits in the middle ground that isn't 'progressive house', isn't 'tech-house', isn't 'techno' and is another example of why genre titles are only needed by journalists and DJs who don't trust themselves or the music they play. Quality track - who cares which pigeon hole?
Dosem - Spiral Attraction: like the previous track this is new to me - couldn't ever see where I'd play the last one out but could easily see me playing this. Lovely feel to it.
Underworld - Two Months Off: Flat out classic. Should probably leave it there but... Fairly sure I played this the first time that D/Goodall/Stuckey/plenty others had heard it when I played Junktion in Greenwich(?). Only reason I really say that is 'cos it was weird that I have no, NO, idea how I got hold of the mp3 of the track. None whatsoever. I woke up on the Saturday morning of the gig, checked my PC and a file had downloaded to my desktop. Played it, loved it, burnt it to cd, took it with me, played it, went down a storm. Weird. Also notable 'cos (whichever year it was released) my family asked Ashleigh to sing a song on Christmas Day to 'earn' herself a small 'tree-present' (family tradition) and she jumped up, pointed a finger in the air and chanted, 'You let light in, you let light in...' - everyone else looked non-plussed and I proper welled up with big-time paternal pride!
Starecase - First Floor Deadlock: think your own comment summed it up D - admirable for some of its content and production but boy-oh-boy is that just too quick for now!
Ok, let's do this - I'm fairly sure this is my shortest ever selection and is focussed on songs - five great tracks from across the years, in chronological order - various musical styles, all of which, good though they are, play second fiddle to their fabulous lyrics...
The Clash - London Calling: end of the 70's, England is a bleak, BLEAK, place, punk had turned music on its head and then The Clash dropped this. Lyric all about urban mayhem - cultural, sociological, political - full of doom and should be uber-depressing but the funk/punk/ska backing track lifts it and the whole thing just... *sighs*
The Jam - Bitterest Pill (I Ever Had To Swallow): for a few years in the late 70s and very early 80s no-one writing lyrics could get close to Paul Weller. This song was him beginning to end the punk/mod roots of The Jam and start to embrace the soul/funk influences that led to The Style Council. I've put earlier Jam songs on DHS that were musically angrier but there's a lyrical intensity to this which few other people have ever got close to.
Madness - Grey Day: staying with the early 80's theme of bleakness, Madness emerged out of the two-tone/ska scene, then turned their hand to some BIG pop songs and then came back with this sort of thing that married the two elements perfectly. Late night fighting, drunkeness, oblivion and yet SO uplifting. No matter how grey your days get there is hope to be found if you look for it.
Morrissey - November Spawned A Monster: jump through to early 90s - Morrissey had made his name writing and singing very complex, clever and controversial lyrics with The Smiths. But no-one had ever, EVER, written a 'pop' song about dark fascinations with the disabled and overtones of incest. It's very dark, very easily taken the wrong way, hugely ambiguous and, as all Morrissey's best songs are, (sickly) funny. Google the lyrics and read as you listen - they're remarkable. And all set against a kind of 'white-boy-funk' backing track with a great bassline and some lush production. "... a hostage to kindness and the wheels underneath her...". Genius.
Christina Perri - Jar Of Hearts: another big jump to 18 months or so ago - and one of the songs I'm most grateful to my little girl for introducing to me. Beautiful American girl singing, against piano and strings, about her defiance in the face of a lad who's taken the romantic mickey out of her. Strikes all sorts of (long-quiet) chords with me - we've all done what this girl is singing about, but never maybe seen it from her point of view before. Humbling. Haunting. Brilliant.
One love
K
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