Hailing from Peru but based in Berlin, producer / DJ Sofia Kourtesis released a four-track EP, Sarita Colonia, earlier this year that slipped under my radar until I read about it in an article about the best electronic music we might’ve missed so far in 2020. I’m glad I found that article (which I can now no longer locate), because Sarita Colonia is a gem I would’ve otherwise overlooked.
The opening title track gets off to a great bouncy house start. The synths grow in volume and brightness as a steady dance beat keeps us grounded. “Moninga,” with its reversed samples and loops, is even happier than its predecessor. It even includes a sample from the cult film The Warriors (“Everybody says Cyrus is the one and only.”), which delighted me.
“Hollywood” is a groovy house track with thumping bass, Marilyn Monroe samples, synthesized hand percussion, and beats that shake more than a rabbit’s nose. It turns into a floor-filler around the two-minute mark when the synths back off and the bass takes the forefront. The closer, “Akariku,” has snappy synth-beats that almost sound like they’re cut off before they become full chops as heartbeat-bass thuds alongside them. The synths bubble until they’re at a rolling boil and you’re incapable of standing still by this point in the song (not even a full two minutes). The song is about love and lust, sampling The Temptations‘ “I Heard it Through the Grapevine” and Jakatta‘s “Ride the Storm.”
This is a slick EP. A full-length from Ms. Kourtesis would be a great addition to 2020’s electronic music catalog, but this well-crafted record is a great appetizer for more things to come.
UK producer / DJ Matt Karmil‘s new album, STS371, has an enigmatic title and equally intriguing song titles and cover (Are those worms? Fish? Amoebas?). The music is just as fascinating because it’s some of the best electro-house released so far this year.
The opener, “Smoke,” starts with chopped vocal samples and scratchy record sounds before dance floor beats and bass subtly drop into the track. “Hard” beings with dreamy synths that pulse like a heartbeat and then that sweet bass drops in to get you and, I would venture to guess, your lover moving.
You might think that a song called “Snail Shower” would be a slow, mellow cut, but it’s the opposite. It’s a bright, refreshing track with looped synths. “PB” was the first single released from the album. It’s a bold track with synths that hint at anger but drums and bass that hint at being a cool cat…until that wicked high hat comes in and gets you in the mood to move.
As someone who is studying the French language, I love the title of “Still Not French” – a peppy house tune that I can envision hearing while on the train in Paris. “Congo” is as steamy and mysterious as its namesake, with beats that are so layered they almost seem to trip over each other. “SR WB” could be the theme to a lost sci-fi show from the 1980’s.
“Breezy” continues the dance beats (and, wow, that electro-high-hat!) and adds poppy synths to the mix. “210” ends the album with more bright beats, sizzling synths, and body-moving grooves.
Even after listening to STS371, I’m still not clear on the meanings of the album’s and songs’ titles, but that’s okay. We don’t have to know everything. We can just play an album like this and groove to it while we undergo self-isolation.
Acclaimed UK producer and engineer MattKarmil will release his new album, STS371, on March27th via SmalltownSupersound, and today presents a new single, “210.” Following lead single “PB,” “210” opens with shuffling synthesizer, later quickening with a muted, staccato beat.
“210 is named after a hotel room in Amsterdam,” says Karmil, “although not one I’ve ever stayed in. I like the way the chord hangs in the air and it’s, to me at least, somehow both intimate and urgent.”
STS371 is Karmil’s most concise album to date, with his signature mix of minimalism and reverb-drenched house still being the backbone of his warm, rich, atmospheric and melancholic sound. It was made largely while Karmil was traveling in a nonlinear process of recording. Anticipating the completion of his music studio in The Cotswolds in England, Karmil favored “on the fly” production methods to finish his album.
While his works fit within the tradition of techno’s timeless anonymity, Karmil’s highly personal music is anything but a xerox on dance music’s previous life. As Karmil puts it – minimally, simply and functionally: “I made a conscious effort to up the energy, and found a collection of tunes that felt coherent to me.”
STS371 follows 2018’s Will. Since the release of Will he has co-produced and mixed KornélKovács’ acclaimed StockholmMarathon. He has also worked with, among many others, MatiasAguayo for CrammedDiscs and Talaboman for R&S, as an engineer, mixing and mastering.
Acclaimed UK producer and engineer MattKarmil is pleased to announce his new album, STS371, out March27th via SmalltownSupersound, and today presents the album’s lead single, “PB.”STS371 is his most concise album to date, with his signature mix of minimalism and reverb-drenched house still being the backbone of his warm, rich, atmospheric and melancholic sound.
STS371 was made largely while Karmil was travelling. Anticipating the completion of his music studio in The Cotswolds in England, Karmil favored “on the fly” production methods to finish his album. “It was not a linear process of recording,” says Karmil, “and in the end the majority of the work was to arrange and choose the right sounds and vibe.”
While his works fit within the tradition of techno’s timeless anonymity, Karmil’s highly personal music is anything but a xerox on dance music’s previous life. As Karmil puts it – minimally, simply and functionally: “I made a conscious effort to up the energy, and found a collection of tunes that felt coherent to me”.
Of “PB”, Karmil states: “I made ‘PB’ over an extended period, having made a 120bpm tune with the same texture and then resampled it and upped the tempo one evening in Cologne. I wanted to make a committed acid track that draws you in and worked hard to get the drums, percussion and main melody working in harmony, but swapping roles a little.”
STS371 follows 2018’s Will. Since the release of Will he has co-produced and mixed KornélKovács’ acclaimed StockholmMarathon. He has also worked with, among many others, Matias Aguayo for Crammed Discs and Talaboman for R&S, as an engineer, mixing and mastering.
Today, Too Free releases a new single, “Elastic,” from their forthcoming debut album, Love In High Demand, out February 21st on Sister Polygon. It follows “No Fun,” “another piece of earworm dance-pop” (Stereogum), and lead single “ATM.” “Elastic” is driven by a bouncing beat and jaunty percussion. “‘Elastic’ is an attempt to define those intangible spaces between seduction and letting go of your inhibitions,” says Awad Bilal. “Unlearning generations of conditioning to explore the different kinds of love that we are capable of feeling without stigma or fear.”
In conjunction, the band announces additional North American tour dates. Following their shows in Washington, D.C. and New York, they’ll play Chicago, Montreal, Winooski, and Bloomington. More dates will soon follow.
Too Free is the Washington, D.C.-based trio of Awad Bilal (Big Freedia, Vasillus), Carson Cox (Merchandise), and Don Godwin (Callers, Impractical Cockpit). Their only mission is a desire to connect with others in the space that music creates. Drawing from improvisation and experimentation, they deconstruct their songs to their most necessary elements, leaning into their collective punk ethos and DIY backgrounds. Drawing equally from elements of South Florida freestyle and Jersey electro into DC’s signature polyrhythms, the record is a continuous refinement of the virtue of motion – each composition rooted in propulsive energy that envelops. Aiming to make something with a more utopian outlook that counters the pervasive pessimism, archaic ideologies and dystopian timelines we interact with on a daily basis, they approach this project with an open-endedness that incorporates higher concepts of what pop art can sound like.
TOO FREE TOUR DATES Sat. Feb. 22 – Washington, DC – U Street Music Hall Thu. Feb. 27 – Brooklyn, NY @ Trans Pecos Wed. April 1 – Bloomington, IN @ The Bishop Thu. April 2 – Chicago, IL @ CoProsperity Sphere Sun. April 5 – Montreal, QC @ La Sotterenea Mon. April 6 – Winooski, VT @ The Monkey House
When the Belgian duo of David and Stephen Dewaele, otherwise known as Soulwax, were asked by BBC Radio to create an “essential mix” in 2017, they decided to create an entire album of new music based on the meaning of the word “essential” instead of just mix a bunch of material made by other folks. The result, Essential, turned out to be a great record mixing house music, dub, electro, and trance.
The twelve tracks are named “Essential One,” “Essential Two,” “Essential Three,” etc. No other ornamentation is needed. “One” mixes radio static and electronic alarm clock blips into a funky cacophony. “Two” brings in disco bass and what sounds like electro-vibraphone to get your booty shaking. It flows so well into the ready-made-for-the-dance-floor “Three” that you might not notice the transition.
The groovy bass continues on “Four,” and there’s a brief pause before the echoing chants of “Five” fill your head. The bells and other percussion of “Six” are downright addictive. “Seven” is a bit mellower than the previous tracks, but not by much. It still keeps you moving. The bass on “Eight” is fat as a whale and will have your entire house party moving so hard they might topple over your china cabinet. “Nine” mixes in odd rhythms to the funky bass for a cool brew.
“Ten” starts with menace, but drifts into a quiet bliss by its end. “Eleven” has the most discernible, and sexiest, lyrics. The sultry synth-beats certainly don’t hurt either. “Twelve” is the shortest track on the album at two minutes-thirty seconds, but it still has enough swanky bass to supply a half-hour DJ set.
Essential is indeed that if you’re a fan of Soulwax or electro music. They recently announced that their U.S. tour has been postponed, but dates would be rescheduled. Don’t miss them if they’re near you.
Keep your mind open.
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We’ve reached the halfway point. Who’s in the list? Read on!
#15 – Sleater-Kinney – The Center Won’t Hold
Sleater-Kinney chose to mix their hard rock and punk chops with electro touches, and the result is a great record about loneliness, toxic masculinity, standing up when you get knocked down, and walking away from the past. The fact that drummer Janet Weiss left the band not long after The Center Won’t Hold was released adds a bittersweet edge to the album, too.
#14 – Jacques Greene – Dawn Chorus
This is a brilliant house music record that has a theme of getting ready for, going to, and then dealing with the after-effects of an all-night party. It’s full of great dance tracks and some chill stuff to give you a breather now and then. Jacques Greene spins like he was a DJ in the early 1990’s, even though he was just a toddler then.
#13 – Weeping Icon – self-titled
The image of the two skulls exploding with waves of…something is appropriate for the debut album from Weeping Icon because this album is a tidal wave of sound – guitar fuzz, psychedelic noise, and other things that are better heard than described all team up to make this one of the best debut albums of the year.
#12 – CHAI – Punk
CHAI just keep putting out great records. Punkis full of their wit, excellent musicianship, and pure joy. It’s a record about embracing who you are and not giving a damn what others think. Throw in J-Pop, post-punk, electro, and songs that practically force you to sing along with them and you have a winner.
#11 – Ash Walker – Aquamarine
Holy cow, this is a groovy record. All of the songs have some sort of theme related to oceans or water. Aquamarine blends soul, house, trip hop, dub, jazz, and lounge chill to produce something you might hear on Aquaman’s hi-fi.
The top 10 start tomorrow on New Year’s Day 2020!
Keep your mind open.
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This track about toxic masculinity let everyone know that Priests weren’t screwing around this year. It was the second cut from the brilliant album The Seduction of Kansas and it knocked you down if you didn’t respect it and them.
#4 – All Them Witches – “1 x 1”
Another single that knocked me flat this year was this new one from All Them Witches. It was a pleasant surprise and ended up being one of the heaviest tracks all year. ATW are brewing up dark stuff, and it’s all amazing.
#3 – Cass McCombs – “Absentee”
Cass McCombs wasn’t on my radar until I heard this single. I immediately thought, “Wow…I need to hear more of this guy.” This song, which my wife describes as “Comfortable,” is a haunting and lovely track that’s hard to describe (Alt-country jazz? Psychedelic lounge?) but why bother? Just enjoy it.
#2 – Cosmonauts – “Seven Sisters”
I’m not sure I rushed to buy an album so fast after hearing one track from it than when I heard this track from the new Cosmonauts record, Star 69. I blasted this thing in my wife’s car, possibly making her wonder if I was having an out-of-body experience based on my reaction to it. I think I was. I don’t quite remember because I think the wall of shoegaze sound that assaulted me knocked my brain into the back seat.
#1 – Kelly Lee Owens – “Let It Go”
This song will make you stop whatever you’re doing and dance. It was an instant club classic as soon as it was released. Kelly Lee Owens inspires me to make electronic music, and almost intimidates me to the point of not bothering – which is what a good teacher should do, inspire and challenge. She does both for all of us with this track.
There you have it. My list of top albums of the year is coming soon!
As always, there are a lot of good singles out there every year and picking just twenty to highlight is difficult, but here goes.
#20 – Andre Bratten – “HS”
Good heavens, the opening bass on this cut from Pax Americana is alone worth the purchase price. It’s one of the hottest house music singles I’ve heard in years.
#19 – BODEGA – “Shiny New Model”
“You will be replaced by a shiny new model” is the first lyric in this sharp single, and on the album of the same name, by these NYC post-punkers who remind us that not only are we replaceable, but we often encourage others to forget us and don’t even realize we’re doing it.
#18 – Durand Jones and the Indications – “Morning in America”
Speaking of songs that throw a heavy punch at modern times, this soul cut is beautiful and brutal. “It’s morning in America, but I can’t see the dawn” might be the hardest-hitting lyric of the year on the most soulful record of the year.
#17 – CHAI – “Fashionista”
It’s difficult to pick a favorite part of this post-punk jam from Japan. Is it the fun vocals? The fat bass? The sizzling high hat? The message to be yourself and not care what others think of you? It’s probably all of it.
#16 – L7 – “Stadium West”
This song was a triumphant return for L7, who blessed us all with their first new album in 20 years – Scatter the Rats. The track is a solid rocker that keeps their snark and shreds.
Who’s in the top 15? Come back later today to learn!
Jon Hopkins and Kelly Lee Owens present their new single and first collaborative recording, “Luminous Spaces,” available digitally now and on 12” on January 24, 2020. The track was originally destined to be a remix of Hopkins’ “Luminous Beings” by Owens, but after the pair worked closely together in the studio, it morphed into a standalone single. The two have built a working relationship over the past few years through sharing the same bill in live capacities and on DJ line-ups across the globe. Their work perfectly complements each other; Hopkins transcendent, dancefloor-focused electronics paired with Owens’ entrancing vocals and ethereal techno production creates a euphoric collaboration.
Hopkins on working with Owens: “This project started as something very different from what you’re hearing now – I wanted Kelly to do a straight remix of ‘Luminous Beings.’ I sent her the parts, but what she sent back just felt like something totally new, and had the potential to be so much more than a remix. She’d recorded these beautiful, uplifting vocal lines and had come up with joyous new riffs that recalled for me the best bits of the 90s trance/euphoria that I had grown up loving. I got a beautiful sense of nostalgia and a true heart-lifting joy the first time I heard it, and it was so painless to take it from there to a finished piece – related and born out of ‘Luminous Beings’ but very much its own thing.”
Owens on working with Hopkins: “‘Luminous Spaces’ initially began as a remix I did for Jon, which I also wrote vocals on top of. I sent the whole track to Jon for feedback and this lead to the start of a more collaborative effort, with him adding extra sound design/ production, and a new intro and outro, which I loved! The exchanging of ideas back and forth made it an extra special process for us and is why he decided to upgrade it to a full and proper collaboration. Our worlds truly colliding!”
Hopkins has forged a reputation for music that marries the dancefloor to the devotional, and for live performances that are visceral, generous, charged with a rapt, sensuous beauty. He’s regarded by The New Yorker as “one of the most celebrated electronic musicians of his generation” for his five solo albums – as well as collaborations with Brian Eno, David Lynch and King Creosote, and film scores for The Lovely Bones and Monsters. Last year, Hopkins’ Singularity received a GRAMMY nomination for Best Dance/Electronic Album.
Kelly Lee Owens bridges the gaps between cavernous techno, spectral pop, and krautrock’s mechanical pulse, and is known for her energetic, engaging live shows and DJ sets. She is also an in-demand remixer, working with Björk, Mount Kimbie, St Vincent and Jenny Hval. Her debut self-titled album was released via Smalltown Supersound in 2017.
Following the single, Hopkins will play shows in New Zealand and Australia, including the Sydney Opera House, early in the new year. He will then begin his Polarity Tour across the UK and Europe, combining his more meditative piano music, for which he will be joined on stage by a small group of consummate musician and long-time friends, with his harder more techno-focused material. A full list of dates for the Polarity Tour can found below.
Jon Hopkins Polarity Tour: Tue. March 3 – Edinburgh, UK @ Usher Hall Thu. March 5 – Gateshead, UK @ Sage Gateshead Fri. March 6 – Dublin, IE @ Bord Gais Energy Theatre – SOLD OUT Fri. March 13 – Manchester, UK @ Bridgewater Hall Sat. March 14 – Bath, UK @ The Forum Sun. March 15 – Brighton, UK @ Dome Wed. March 18 – London, UK @ Royal Albert Hall – SOLD OUT Fri. March 20 – Paris, FR @ Salle Pleyel Wed. March 25 – Copenhagen, DK @ Koncerthuset – Koncertsalen Thu. March 26 – Stockholm, SE @ Gota Lejon Fri. March 27 – Oslo, NO @ Sentrum Scene Sun. March 29 – Helsinki, FI @ Helsinki Music Centre Tue. March 31 – Hamburg, DE @ Laeiszhalle Wed. April 1 – Brussels, BE @ Cirque Royal Thu. April 2 – Berlin, DE @ Philharmonie Sat. April 4 – The Hague, NL @ Rewire
