Compuphonic - Sunset - 'tis slightly camp isn't it which in itself is no bad thing - listened a few times now and just not sure I'd play it out which, rightly wrongly, is the test I apply to this kind of music
Simplicity Is Beauty - Telemachus - I went through a stage of just buying Mothersole tracklisted stuff blind - if I could afford to I'd probably still be doing so. You're right, he does know how to pick a tune. I'd definitely play this.
Andhim - Wallace - yeah, easy to see how this works. Large.
Throbbing Gristle - Hot On The Heels Of Love (Ratcliffe remix) - really like how it starts but it wanders after a while and never quite returns...
Underworld - And I Will Kiss - you're lucky to have got this 'cos I damn nearly put it straight into the Best Of DHS but the slightly OCD part of me didn't like the breaching of protocol that that would've required. As Duffy and I sat and watched the pastoral scene giving way to an industrial revolution and this tune began to unfurl in front of our ears I turned it up a bit. Then a bit more. The quite a bit more. Then I quite bravely proclaimed to Duffy, 'this is fucking immense'. And so it was. And so it remains. The Isles Of Wonder CD1 hasn't left the stereo in my Mum's car since I gave it to her in the Lake District almost 4 weeks ago and she pretty much plays track 4 (this) on a loop. I have to say I'm not entirely comfortable with that but there you go - a very real testament to what happened in those 15 minutes in that stadium. Absolute magic. I am genuinely looking forward to being regaled by H's views on it when next we meet.
Junior Parker - Tomorrow Never Knows - I tried really hard with this - it ticks a lot of my current boxes - 70s, funky blues, etc - even listened to the whole album (upon which River's Invitation has got to be THE most accurate facsimile of the James Brown sound ever) - but after all that effort the best I can say is I'm glad I heard it (genuinely) but won't be going back.
Sky - Westway - picking up on your posted comments - not many 'kids' get the fact that 'progressive-rock' existed as a completely accepted genre from circa 1970 - it was the genre that took the guitars and the keyboard elements of 'rock' and spun them out - out of all seeming control in some cases. And THAT is what the original intention behind the journalistic coining of the term 'progressive-house' was meant to reflect. Anyway, I digress - this track is entirely new to me although I'm aware of the band - one has only to look at the track lengths on the album to see that this lot were very much part of the 'prog-rock' cannon. Reminds me very much of the Ozric Tentacles stuff which, if memory serves you weren't keen on - a revisit required perhaps?!
Guido Percich - Greenwich - I believe you called this 'Guido' in your blog post - you nutter you - but yeah - very familiar from our mixing weekend - and nice too. The sort of thing that Beatport can legitimately label as 'progressive house' in amongst all the utter dross that really shouldn't be...
Bicep & Ejeca - You - what's not to ADORE?! Probably my two favourite producers of the year (although both Huxley and Trevino would run them close) - and they get together on ONE record. It's like someone got off the carpet off Studio 54 the morning after it closed and had musical sex with the whole 90's UK Garage scene and then gestated and birthed this fantastic hybrid sound of 2012 disco-tech-step. Kind of thing. The whole EP is MASSIVE.
Sigur Ros - Untitled 8 - Frankly disgusted that we're closing in on 900 tunes on DHS and this is only the second Sigur Ros track. All I can really say about this is that I stood open-mouthed and openly crying first time I saw them do this at Brixton. And I was one of dozens, probably hundreds, in the venue doing the same. When it came to an end there was no applause for 2 or 3 seconds - no one knew what the hell to do. Absolute shellshock. The drumming when all hell is let loose (9m26s) is fantastic - even if it's not as dynamic on this album as it is live. Staggeringly beautiful piece of music. Thank YOU mate.
So, my five.
There have been two or three of pop/dubstep tunes I've had on the list for a while but I needed a couple of others to 'bind them' into a selection of five - those tunes arrived recently so, without further ado...
Tinie Tempah - Pass Out - don't care what anyone says this is quite probably THE best dance/pop tune since Beyonce's Crazy In Love. I'd've picked it two years back but it was ubiquitous - but never once did it, or has it, got on my nerves. Lyrically it's remarkable - superficially it's utter dross but it's actually quite clever 'dross' - the lines about Scunthorpe and, '... I bet your daughter knows...' make me chuckle everytime I hear them. And the drop 3m23s is quality. Top. Pop.
Jessie Ware - Wildest Moments - saw this Doris singing live to a remix of her latest single ('Running' - Disclosure remix) on tele recently - slung it straight on the DHS list - then listened to the album and just got caught up in this track. She's new. She's up and coming. Her album is genuinely really, really, nice. And I was into her before Ashleigh was...
Jess Mills - Pixelated People - according to my list I added this as a possible on 21st August - but I can't remember for the life of me how I came across it. Oh no - hang on - it's come back to me... That's right! I recently discovered that 'Nocturnal Sun' is a production pseudonym of Maya Jane Coles - so I was digging around on Spotify to see what was there - found the 'Nocturnal Sun' remix of this tune and then fell for the original. Pop with a hint of dubstep and a huge Rob Base & DJ Ez Rock sample thrown in. D - in light of your recent 'conversion' to the poppier end of the dubstep sound might I suggest you give both the Nocturnal Sun (more of a dubby techno feel) AND Wilkinson (pretty much a dictionary definition dubstep remix) mixes a blast - they strip a lot of the 'pop' out of this original and detonate some proper bass on it...
Rustie - After Light - this works best in a car, at speed, with the top down, at night with volume induced ear-bleeding. Say whatever you like about this - I can't fault one single second of it. Absurdly brilliant.
James Blake - Limit To Your Love - cover version (original done by a band called Feist) that took a rather lovely, melancholic, downbeat lyric and DRENCHED it one of the biggest basslines you've ever heard. Again, been on my possibles for a good long while but wanted to include it with some sympathetic choices 'cos it absolutely deserves it. This fella was tipped for HUGE things a couple of years back - they haven't happened for him yet but this remains a fabulous piece of upfront British pop. The video is beautiful too if you ever see it.
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