House – Page 4 – 7th Level Music

Review: Paperkraft – Not C but K

While many of his contemporaries in Japan were focusing on drum and bass and underground EDM, Paperkraft decided he was going to focus on progressive house and strive to bring it back into popularity. He’s off to a good start with his Not C but K EP.

“The Amazing Spaceman” blasts us into orbit and begs to be cranked while you’re doing a spacewalk outside the International Space Station. It will make the job of fixing that solar array go much quicker as you tap your toes inside their insulated boots to the syrupy bass and zero-gravity synths.

“Dizzy Disk” could refer to a UFO or whatever Paperkraft is spinning on his decks. It has a fun 1990s rave flair to it with the vocal sample loops and party-inducing bass riffs. Aiden Francis‘ remix of it is a nice addition.

“OK Corral” is a for-sure floor-filler. Again, Paperkraft uses vocal samples and loops to great effect and has you moving no matter where you are. Be careful with where you hear this, you might start dancing in the middle of a bus station or any other place. Aldonna‘s remix turns it into a bit of a trance track.

The EP closes with “Stella” – which is chock-full of processed drums, kitten-sneeze cymbals, and chonky cat bass lines.

The whole thing is a blast. Get in on it now!

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[Thanks to Harbour Music Society.]

Rewind Review: For the Love of House (2006)

I picked up this delightful three-disc house music compilation at Reckless Records in London last year for a mere two pounds. As the cover reads, it’s forty-five tracks. You could just put any of these into a DJ set and walk away for a little while.

Each of the discs has plenty of outstanding tracks on it. Disc One, for example, has a lovely mix of Ron Hall and The Muthafunkaz‘ “The Way You Love Me” with Marc Evans on vocals. Paul Johnson‘s “Get Get Down” is a lot of fun. Kathy Brown‘s “Don’t Give Up” is pure house bliss, as is the ’98 mix of Maw‘s “To Be in Love.” Soulsearcher‘s “Can’t Get Enough” is a house classic and not to be missed.

Disco Two starts off with six straight bangers: Bob Sinclair‘s “I Feel for You,” Powerhouse‘s “What You Need,” A.T.F.C.‘s “Bad Habit,” Sandy Rivera‘s ” I Can’t Stop,” and Knee Deep‘s “Good for Da Hole” and “I”ll Be There For You.” Soul Rebels‘ “I’ll Be Good,” with the great Lisa Millet on vocals, is a for-sure floor-filler.

Disc Three gets thumping right away with Junior Jack‘s “Stupidisco.” “Believe” by Ministers De La Funk (with Jocelyn Brown on vocals) brings a bit of gospel flair to the mix, which is always welcome in house music. M‘s “So Fly” is killer, full of fun raps and retro video game bleeps backed with a solid dance beat. Timmy Vegas & Andy Daniell‘s “Disco Shit” is the shit. The early 90’s rave vibe of it is top-notch. Martin Solveig‘s “Rocking Music” gets your attention and doesn’t let go of it. Mood II Swing‘s “Can’t Get Away” is a good example of a house music staple – songs about how you sometimes can’t quit love that’s great in some ways but bad in others.

This compilation is well worth finding if you can.

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Paperkraft brings progressive house music back to the forefront on his upcoming EP.

Bubbling beneath the surface of Japan’s emerging underground scenes, Osaka based artist Paperkraft has passionately developed his craft, immersing himself in the culture and championing a new wave of Japanese artists. With the rise of genres like UKG & bass in neighboring cities like Kyoto – it’s the progressive and house movement Paperkraft is concerned about. Although more niche in his native city, developing a sustainable scene and championing the sounds he loves is the ultimate goal.

“UK Garage and other types of bass music music are thriving in Japan. I think the number of DJs of the younger generation has also increased.On the other hand, modern progressive house and liquid house music is a smaller scene. At least, no one around me is making similar music, so I would be happy if I could help bring some of it to Japan.”

First introduced to HOMAGE through friend and breakthrough producer Stones Taro, Paperkraft referenced releases like Aldonna’s Morph EP as the catalyst to send his demos, and who subsequently remixed ‘OK Corral’ on his forthcoming EP Not C But K.

Breakthrough tracks’ like Papekrafts’ ‘Dimple’ which was released by HearThug’s Are You Alien label gathered large support, and made a special appearance on Manami’s Boiler Room Debut; laying the foundations for tracks like ‘OK Corral’ to take shape. The infectious vocal sample coupled with jam-like riffs give off the vibe that it was done in one take in an act of pure enthusiasm, with that same energy lending itself to the dancefloor. Aldonna’s remix adds a balearic and emotive touch, while tracks like ‘Stella’ use a left leaning approach, perfect for low capacity clubs and sweaty, dimly-lighted rooms. Aiden Francis lends his signature sound to the remix of ‘Dizzy Disks’, with elements of breakbeat, trance and electro, showing why labels and clubgoers rate him so highly.

FORTHCOMING FEBRUARY 16TH.

PRE-ORDER

FEATURING REMIXES FROM ALDONNA & AIDEN FRANCIS.

PREVIEW

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[Thanks to Harbour Music Society.]

Top 25 albums of 2023: #’s 25 – 21

Now that 2023 has passed us, it’s time for my annual countdown of some of my favorite stuff of the previous year. Who made the top 25? Read on and discover!

#25: Cavaran – Nights at Josan

Named after a bar near their recording studio they’d frequent after recording sessions, Belgium’s Cavaran returned with a solid record of desert / stoner rock that was a badly need dose of rocket fuel into our collective veins.

#24: Gimenö – Movement Remixes

Just like 2022, there was a lot of good EDM released last year, and this album of remixes by pals of DJ / producer Gimenö was among it. There isn’t a bad track on here. It’s all floor-fillers.

#23: Big Miz – Where I Belong

Another excellent EDM EP, this one from Big Miz on the Homage label. Miz combined house with trance and does it with subtle, slick skill.

#22: Bodywash – I Held the Shape While I Could

Shoegaze made a fine return this year, and that makes me happy – as did this cool record by Bodywash that bathes you in guitars, reverb, and clove cigarette smoke vocals.

#21: Eaves Wilder – Hookey

Another fun EP, this one about break-ups, screw-ups (in the world of mental health care), and drink-ups. Eaves Wilder might be “the next big thing.” Get in on her stuff now and become one of the cool kids.

Who makes the top 20? Come back tomorrow to find out!

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Review: Big Miz – Where I Belong EP

Hailing from Glasgow, Big Miz put in the work behind the decks at at local clubs to build not only his skills but a thriving EDM community there. His first EP for the HOMAGE label, Where I Belong, is a good introduction to his music.

The title track gets it off to a great start with shining beats and bass hits that make you move whether you want to or not. “Everything’s Fine” uses vocal samples to neat effects, and “The Feeling” is a song about getting back to the dance floors and the clubs after we all had to dance in our living rooms during the pandemic (“We gotta bring back that feeling. Yeah, you know the one I’m talking about. That feeling that’s been gone…for way too long.”). Its slick beats will make you want to rush out to the nearest club.

The EP ends with a nice remix of the title track by LUXE that brings up the lush but doesn’t skim on the thumps.

It’s a sharp EP, and every track is solid. Don’t skip it.

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[Thanks to Harbour Music Society.]

Review: LSS – Hydrospatial EP

Five straight bangers.

That might be the easiest way to describe LSS‘ new EP, Hydrospatial. The duo of Edward Richards and JXTPS lay down hard-driving techno beats with touches of punk and garage rock here and there, resulting in a quintet of tracks that would easily glide into any DJ’s set and will find a permanent home on your new workout playlist.

“TNK” is straight from a rave aboard Deep Space 9’s holodeck rave with its futuristic, pulsing synths. “Fractual” pans and hums like a swarm of bees drifting above a party at a beachfront, but with more moonlight than sunlight. “Axion” has definite krautrock influences with its repetitive, almost hypnotizing beats.

The high-hat on “Factory” reminds you of a hissing steam engine (and there are steam-like synth hisses throughout it), while the bass is so bottom heavy it feels like it could break through your floor. The title track hums, bumps, throbs, and gristles in all the right spots, causing visions of floating in space, dancing with a bunch of fun, sweaty people in a small club, and running from monsters all at the same time.

Again, five straight bangers.

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[Thanks to Harbour Music Society.]

Rewind Review: Faithless – Sunday 8pm (2001 special edition)

To say that Faithless‘ 1996 album, Sunday 8pm, was a monumental release at the time is a bit of an understatement. Everyone was clamoring for albums like this, for bands like Massive Attack and Portishead and, really, anything from the UK that sounded like those bands, and then Faithless comes along and proves that they weren’t a cookie cutter band in the molds of those other great bands, but one that had their own unique style that mixed ambient music, shoegaze, trip hop, dub, and, yes, spiritual music.

Consider Maxi Jazz‘s line of “Even sitting in the garden one can still get stung.” on “The Garden.” It’s a Zen reminder at the start of an album that will explore love, loss, loneliness, yearning, reunions, and separations. On “Bring My Family Back,” Jazz reminisces about working hard to get ahead and realizing, once he’s “made it” that he hasn’t really arrived at anything worthwhile. Again, more Zen.

Please check your pulse if the drums on “Hour of Need” don’t get you moving. It’s a delightful song about letting your lover know you’ll be there for them when they’re at their lowest. “Postcards” is an instant classic, with Jazz’s lyrics taken from postcards he sent home during the band’s U.S. tour. “Take the Long Way Home” isn’t a cover of the Supertramp classic (although that would be wild to hear), but rather a synth-laden dance floor classic with snappy hi-hat beats and sexy, thudding bass.

On “Why Go?”, the band sing about a lover who unexpectedly shows up and how it can be awkward to talk them into staying. Unlike, “She’s My Baby,” a wild song that has Jazz talking about his wild sex life with his gal. The only thing more sultry than the lyrics is the wicked beat throughout it. “God Is a DJ” was, and still is, another classic, with Faithless (rightfully) comparing raves and dance clubs to places of worship, fellowship, and healing. To further that symbolism, the next track is “Hem of His Garment” – which speaks of love as something to be worshipped and cherished. “Killer’s Lullaby” is another thumper, and the special edition of the album has a sharp remix by Nightmares on Wax to boot – as well as a Paul Van Dyk remix of “Bring My Family Back.”

Sunday 8pm is a classic of the mid-1990s house / rave scene that still sounds fresh today.

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Tywi gets us out of reality on his new EP – “Reality Checkpoint”

Duality Trax first opened its books in 2020 with an EP featuring Radiant Love regular Fio Fa and a remix of the year contender coming from Lisbon’s Violet. Since then the label has become known for its acute attention to detail, giving each release the shine it deserves while avoiding disposable practices and challenging the industry through its dedication to duality and balance, whether that be sonically or surrounding gender identity.

It’s really no surprise that one of house music’s leading label figures Tywi was destined to make an appearance. Having started the Haŵs imprint in his home city of Cardiff, the label’s wide-spread popularity began to gain the attention from some of the industry’s most respected heads and became a breeding ground for new artists to emerge. A shared love of music resulted in tracks being shared over time and eventually DUALITY6 was born. In what will be his first full length EP, Tywi continues to join the dots between 90’s house, prog, breaks and trance, with a huge remix coming from Frankfurt-based artist Maruwa, released Friday 8th September.

Title track ‘Reality Checkpoint’ connects various styles with a modern take on progressive trance. Sonics feel as if they’ve been projected from space in a kaleidoscopic mind-warping ride, coupled with the producer’s impressive ear for world building soundscapes. A child of the ‘90s, Maruwa combines her classically trained ear with the nostalgia of her upbringing in the remix; channeling early trance records and deep, chugging rhythms into a wave of euphoria fit for peak-time. It’s the first time the label has also delved head first into full trance territory, turning the intensity levels up while paying homage to both label owner and artist’s early musical influences.

The B side opens up with ‘Spellbound’ which feels like a guided tour around the cosmos, sat beside trusted travellers and embraced by everything-will-be-alright energy . The track’s interior is built around synths that feel both effortless and light as our tour guide brings us towards our final destination. The EP comes to a close with ‘Laws Of Motion’, building slowly with shades of leafy greens and deep oceanic blues as it gently brings us back down to earth.

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[Thanks to Harbour Music Society.]

Big Miz shares the title track from his upcoming EP – “Where I Belong.”

From early residencies at weekly student nights in Glasgow to playing a pivotal role behind the scenes at La Cheetah Club, Big Miz has been immersed within the city’s walls since he was a teenager. Weekends spent crafting his sound behind the booth and creating lifelong friendships at the city’s famous after-hours scene have helped create an ecosystem for success. In Glasgow, even larger labels are always keen to support local talent and during one of his frequent visits to Rub A Dub Records, Big Miz was introduced to Dixon Avenue Basement Jams which eventually led to the release of his first EP.

Miz has carried this Glasgow courtesy throughout his whole career, which eventually led to connecting with HOMAGE label head Ryan Clover where they exchanged feedback and spins before locking down a release on the label’s heavy schedule. The New York based label’s ethos shares parallels to Glasgow’s – collaborative, fluid, and always ready to party.

Title track ‘Where I Belong‘ wastes no time on introductions, combining a range of hardware and software into a kaleidoscopic recording created for peak time. ‘Everything’s Fine’ demonstrates Miz’s knack for groove and melody, where classic acid sounds meet demanding stabs and an irresistible groove. Inspired by early house records, ‘The Feeling’ makes its presence felt with chunky kickdrums and uplifting vocal samples; Big Miz’s attention to detail and years of dancefloor education shines through, first establishing a hypnotic introduction and powerful transitions that have us hooked from the first bar.

The EP is beautifully rounded off by LUXE’s remix of the title track ‘Where I Belong’, following on from her standout EP on the beloved label Planet Euphorique. LUXE swaps rolling kick drums in favor of breakbeats and an ethereal backdrop. The space between musical elements is key, allowing us to breathe as our perspective shifts high above the city’s clouds.

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[Thanks to Harbour Music Society.]

Skeleten says “Right Here It’s Only Love” on his new single from his debut album.

On his thrilling and immersive debut album, Skeleten (producer / vocalist Russ Fitzgibbon) dares to imagine new ways of being that are not characterised by doom or despair – a challenge in an era defined more by feelings of futility, isolation and precarity. Across eleven tracks of free-flowing, transcendent, and often euphoric electronic music, he plays spiritual guide to a musical journey which is wonderfully in touch with realms beyond our own. Praising the power of comradery and community, dreaming of a future that is joyously boundless, Skeleten’s singular debut LP is, to borrow from one of his own lines, music for dancing “any way your body turns.”

After years of cutting his teeth in Sydney’s tight-knit electronic community, Fitzgibbon forged his own identity and debuted under his solo moniker, Skeleten in 2020. It’s his most personal project to date, the sound of him unfiltered for the first time as both a vocalist and producer. At once intimate and otherworldly, at the core of the project lies a strong sense of uncomplicated openness and a deeply rhythmic, meditative ambience. Strikingly unplaceable, the result is a curious yet alluring amalgam of far-flung influences and emotive atmospheres that invites you to get repeatedly lost in.

In between his debut and the long-awaited release of Under Utopia, Skeleten’s consistent output has seen him accrue rotation and early praise from Triple J, Double J, XLR8R, Stereogum, NME, The Guardian, BBC Radio 6 Music’s Recommends Spotlight Artist, Brooklyn Vegan and receive the official remix treatment from the likes of Logic1000, Moktar and Jennifer Loveless.

Under Utopia sees its release today via 2MR (North America) and Astral People Recordings (ROW) on vinyl and across all digital platforms.

Listen / Purchase / Playlist Under Utopia Here

Watch Under Utopia Official Videos:
“Right Here It’s Only Love”
“Sharing The Fire”
“Territory Day”

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[Thanks to Bailey at Another Side.]