tomoliverjones
Reviews
artist King Roc
Sunday, 16 November
Things invariably turn deep, suave and sophisticated when Giles Smith and Martin Dawson, AKA King Roc, pair up as Two Armadillos, and their newest 12-inch is no different. Picked up by Ben Watt's refined Buzzin' Fly label, this concise package offers the pair's deep and cosy original alongside Tobias' more hectic, subby, club-driven remix.
Furthering their string of impressive releases, the London duo continue to fuse their earnest love for all things deep and housey with techno influences. Indeed Smith, a self-confessed "obsessive house-head," often talks about the influential role that Chicago producers have played on his work. However, the man half responsible for London's popular summer outdoor parties, Secretsundaze, has always set out to put some of the warmth back into the music. The pair nail that quality with "Nostalgia." The track is steeped in TA's trademark groovy vibe, drifting with ease and a soulful sincerity from its casual beginning through to its contented end. The record's natural and effortless warmth seems to reach out of the speakers and touch the soul like wise words from caring elders. Understated but sublime, the track revels in its own simplicity whilst showcasing its intelligence in an assured style.
The serenity of the original is paired up with the more agitated, energetic remix from veteran German producer Tobias Freund. The bass manages to conjure up a sense of restlessness, well suited to dancefloor business. Philadelphia's acid virtuoso Josh Wink sums it up on the track's promo: "Tobias mix... rolling groove!"
So, just as seamlessly as Secretsundaze patched the UK's long-standing passion for deep house together with the innovations in European techno, so Two Armadillos provide a soundtrack with the same sentiment. With house in resurgence from Berlin to Bucharest, their time is surely now.
Furthering their string of impressive releases, the London duo continue to fuse their earnest love for all things deep and housey with techno influences. Indeed Smith, a self-confessed "obsessive house-head," often talks about the influential role that Chicago producers have played on his work. However, the man half responsible for London's popular summer outdoor parties, Secretsundaze, has always set out to put some of the warmth back into the music. The pair nail that quality with "Nostalgia." The track is steeped in TA's trademark groovy vibe, drifting with ease and a soulful sincerity from its casual beginning through to its contented end. The record's natural and effortless warmth seems to reach out of the speakers and touch the soul like wise words from caring elders. Understated but sublime, the track revels in its own simplicity whilst showcasing its intelligence in an assured style.
The serenity of the original is paired up with the more agitated, energetic remix from veteran German producer Tobias Freund. The bass manages to conjure up a sense of restlessness, well suited to dancefloor business. Philadelphia's acid virtuoso Josh Wink sums it up on the track's promo: "Tobias mix... rolling groove!"
So, just as seamlessly as Secretsundaze patched the UK's long-standing passion for deep house together with the innovations in European techno, so Two Armadillos provide a soundtrack with the same sentiment. With house in resurgence from Berlin to Bucharest, their time is surely now.
artist Giles Smith
Sunday, 16 November
It's been another summer of some magnitude for Secretsundaze, and one that has flown by with a plethora of shimmering line-ups that have included Radio Slave, Steve Bug, Carl Craig and Keith Worthy. With the final party paired with the album launch for the crew's Volume 2, Sunday's stage was set to finish the summer off in celebratory style. The only problem? The heavens weren't having it, opening up and leaving London amid a downpour that any South American rainforest would have been proud of.
Unavoidably, the rain caused the promoters to move proceedings indoors. But after the initial disappointment, something truly British happened and the crowd rallied together to have one hell of a party. The bouncers and the promoters set the tone early with high-spirited, friendly welcomes at the door. Then, once inside, the ever-smooth Giles Smith laid down his lush, spellbinding, deep soundtrack to the afternoon. Early on there was an almost Latin feel to the live and funked-up drums that swirled around the dancefloor. Then, as the afternoon continued, the rich, crisp sound quality that was pumped out of Ministry of Sound's infamous soundsystem perfectly complemented Smith's warm, techy feel.
As the afternoon turned into evening the bushy-tailed revellers were treated to mouthwatering lighting effects. The main lights went down as huge green laser beams streaked across the room from the floor to the ceiling. Often we were plunged into darkness, but then the swanky disco ball, hanging high over our bobbing heads shot out a flickering laser which ricocheted amongst the throes of sweaty, grooving partygoers.
This visual change coincided with the introduction of German deep house trailblazer, Dixon, who took things up another notch as soon as he hit the decks. One of the perks of the event being moved inside: No noise restrictions ala SS's August Bank Holiday outdoor event. As a result, Dixon was able to deliver an upbeat set that constantly crossed boundaries between house, techno and minimal whilst always keeping the kind of groove that has come to be associated with Secretsundaze.
Billed as the special guest, Vera certainly enjoyed being inside MOS as well. She was dancing away at Dixon's side for the entirety of his set, and then took that enthusiasm into her own set. She provided continued the vibe in a style that has seen her hold down residencies at Ibiza's DC10 and Monza. Her stark grooves scooped up the crowd and carried them into the morning until James Priestly returned to the stage to finish the summer off in a fitting style. With only memories and a double CD set from Priestly and Smith to tide me over during the winter months, I, for one, already can't wait for next year.
Unavoidably, the rain caused the promoters to move proceedings indoors. But after the initial disappointment, something truly British happened and the crowd rallied together to have one hell of a party. The bouncers and the promoters set the tone early with high-spirited, friendly welcomes at the door. Then, once inside, the ever-smooth Giles Smith laid down his lush, spellbinding, deep soundtrack to the afternoon. Early on there was an almost Latin feel to the live and funked-up drums that swirled around the dancefloor. Then, as the afternoon continued, the rich, crisp sound quality that was pumped out of Ministry of Sound's infamous soundsystem perfectly complemented Smith's warm, techy feel.
As the afternoon turned into evening the bushy-tailed revellers were treated to mouthwatering lighting effects. The main lights went down as huge green laser beams streaked across the room from the floor to the ceiling. Often we were plunged into darkness, but then the swanky disco ball, hanging high over our bobbing heads shot out a flickering laser which ricocheted amongst the throes of sweaty, grooving partygoers.
This visual change coincided with the introduction of German deep house trailblazer, Dixon, who took things up another notch as soon as he hit the decks. One of the perks of the event being moved inside: No noise restrictions ala SS's August Bank Holiday outdoor event. As a result, Dixon was able to deliver an upbeat set that constantly crossed boundaries between house, techno and minimal whilst always keeping the kind of groove that has come to be associated with Secretsundaze.
Billed as the special guest, Vera certainly enjoyed being inside MOS as well. She was dancing away at Dixon's side for the entirety of his set, and then took that enthusiasm into her own set. She provided continued the vibe in a style that has seen her hold down residencies at Ibiza's DC10 and Monza. Her stark grooves scooped up the crowd and carried them into the morning until James Priestly returned to the stage to finish the summer off in a fitting style. With only memories and a double CD set from Priestly and Smith to tide me over during the winter months, I, for one, already can't wait for next year.
artist James Priestley
Sunday, 16 November
Firmly established at the forefront of London's party scene, the clear next step for Secretsundaze was to launch a label. But far from the overreaching aims of some, the duo of Giles Smith and James Priestly have done it modestly: Their release schedule consisted of one mix CD (Secretsundaze Volume 1) and one 12-inch to cap off their 2007 season, and the same to start the 2008 campaign. And now, with the successful end of the party for 2008, we have Smith and Priestly's Volume 2, another double CD set that captures the essence of their live sets.
On the first disc, Smith blends together time-honoured, classic house tracks with up-front numbers to sophisticated effect. His mixing is virtually seamless, merging the tunes into one another to subtly build his way though the disc. He opens the proceedings with a journey into the smokier side of house with assured productions by Urban Force and Claro Intelecto before delivering the bass-infused grooves of Radio Slave's remix of Mr. G's "Sometimes I Cry" and the forever young "Montana Freight Train" by Lawson, Finlow and Cappello. Smith also unveils his latest track with Martin Dawson as Two Armadillos, "Hawthorne's Theme," a slice of jazzed-up house music.
From there, the mix slips into a trance-inducing, eerie realm courtesy of Cassy and then Scott Grooves, whose hypnotic "Only 500" creeps along unassumingly only to become a driving, menacing affair. Smith then takes on a more percussive vibe with funky tracks from Brothers Vibe and Guillaume and The Coutu Dumonts before bringing things down with another polished Two Armadillos track, the super smooth "Hamlin." This sets the mood for the closing of the mix where Smith throws in a truly refined, deep number from Rozzo and "The Morning Factory" by Ron Trent and Chez Damier, an absolute classic that still manages to sound fresh today.
Like last year, James Priestley takes the second disc and, like his counterpart, manages to successfully maintain the balance between old and new. His melodic mix offers more of a sunkissed, vocal-friendly approach, encompassing disco, soul and funk, all tinged with a house sentiment. After setting off with the breezy house classic "Walk On Air" by Holy Ghost Inc., Priestley immediately finds his funky vibe with disco cuts from Lindbaek and James Pants. From disco he moves into soul-inspired house with Barltan Love Express' jubilant "Theme" and a vivacious Afefe Iku production.
Things then start to bounce along with funky tribal flavours coming from Sety's excellent "Magane" and yet another Afefe Iku percussive track. With the tempo heightened, Priestley decides to delve into more subby, underground territory, including Playgroup's swirling acid dub of The Rapture's "I Need Your Love" and Johhny D's rolling chunky remix of "Disorientation" by Guy Gerber. "Acadian" by The Mole builds up tension, aptly leading us to "Psychotic Photosynthesis," Omar-S' synth-laden chiller. Priestley finishes off the mix with his and Dan Berkson's laidback, blissed out remix of Robert Owens' aptly titled, "Happy."
With Volume 2, Secretsundaze have once again proven their commitment to fresh and exciting house and techno. It's the best type of history lesson: While the duo clearly pays homage to the past, they also expertly connect those tracks to the present. And just as these tunes perfectly complement one another, so do Smith and Priestly, with the former taking a darker tone before the latter brings us into sunlight on the second disc. Smith and Priestly's aim with SS Vol. 2 is to leave us with something to remember them by before the 2009 season begins—and to celebrate the success of 2008. And that's exactly what they've done.
On the first disc, Smith blends together time-honoured, classic house tracks with up-front numbers to sophisticated effect. His mixing is virtually seamless, merging the tunes into one another to subtly build his way though the disc. He opens the proceedings with a journey into the smokier side of house with assured productions by Urban Force and Claro Intelecto before delivering the bass-infused grooves of Radio Slave's remix of Mr. G's "Sometimes I Cry" and the forever young "Montana Freight Train" by Lawson, Finlow and Cappello. Smith also unveils his latest track with Martin Dawson as Two Armadillos, "Hawthorne's Theme," a slice of jazzed-up house music.
From there, the mix slips into a trance-inducing, eerie realm courtesy of Cassy and then Scott Grooves, whose hypnotic "Only 500" creeps along unassumingly only to become a driving, menacing affair. Smith then takes on a more percussive vibe with funky tracks from Brothers Vibe and Guillaume and The Coutu Dumonts before bringing things down with another polished Two Armadillos track, the super smooth "Hamlin." This sets the mood for the closing of the mix where Smith throws in a truly refined, deep number from Rozzo and "The Morning Factory" by Ron Trent and Chez Damier, an absolute classic that still manages to sound fresh today.
Like last year, James Priestley takes the second disc and, like his counterpart, manages to successfully maintain the balance between old and new. His melodic mix offers more of a sunkissed, vocal-friendly approach, encompassing disco, soul and funk, all tinged with a house sentiment. After setting off with the breezy house classic "Walk On Air" by Holy Ghost Inc., Priestley immediately finds his funky vibe with disco cuts from Lindbaek and James Pants. From disco he moves into soul-inspired house with Barltan Love Express' jubilant "Theme" and a vivacious Afefe Iku production.
Things then start to bounce along with funky tribal flavours coming from Sety's excellent "Magane" and yet another Afefe Iku percussive track. With the tempo heightened, Priestley decides to delve into more subby, underground territory, including Playgroup's swirling acid dub of The Rapture's "I Need Your Love" and Johhny D's rolling chunky remix of "Disorientation" by Guy Gerber. "Acadian" by The Mole builds up tension, aptly leading us to "Psychotic Photosynthesis," Omar-S' synth-laden chiller. Priestley finishes off the mix with his and Dan Berkson's laidback, blissed out remix of Robert Owens' aptly titled, "Happy."
With Volume 2, Secretsundaze have once again proven their commitment to fresh and exciting house and techno. It's the best type of history lesson: While the duo clearly pays homage to the past, they also expertly connect those tracks to the present. And just as these tunes perfectly complement one another, so do Smith and Priestly, with the former taking a darker tone before the latter brings us into sunlight on the second disc. Smith and Priestly's aim with SS Vol. 2 is to leave us with something to remember them by before the 2009 season begins—and to celebrate the success of 2008. And that's exactly what they've done.
artist Ben Watt
Sunday, 16 November
You really get the sense that Ben Watt feels he has nothing to prove these days. Considering his contribution to music over the last 25 years, he shouldn't have to either. He's done it all: From being half of a chart-topping band to relaunching himself as a DJ, starting successful nights in London, running a prestigious label and even writing a book, this is a man who has absolute self-assurance, doing what he likes, when he likes and how he likes.
Tonight was no different, his confidence translating into a set at The End that was never overanxious to please. On several occasions, Watt was bold enough to use prolonged breakdowns where virtual silence took hold of the dancefloor—a brave move whilst playing to a sold out crowd in the venue's brimming main room. These silences however, were punctured by Watt's deep house in a set that was weighted with vocals. With his background, it's easy to see why he prefers a more melodic and harmonic style of vocal-friendly electronic music. His father was a jazz musician and Watt started out making solo jazz folk albums before going on to pop success with Everything But The Girl.
An extended remix of Radiohead's "Street Spirit" with the acapella of EBTG's "Missing" was a particular highlight of the night with its swirling, melancholic trippy disposition trickling down the crowd's collective spine. "I Need Your Loving" by Baby D captured the same sentiment but moments like these were wavering, interrupted by periods where there was a distinct feeling of staleness, scattered in amongst the more captivating sections. Watt's set lacked fluidity and cohesiveness, keeping real atmosphere at arm's length.
Over in the lounge, on the other hand, Prins Thomas and his space disco delivered. His obscure gems suited the open-minded vibe of those unmoved by Watt's pristine deep house. Because, no matter how sure of his selections as he might have been, Watt's rather polite, grown-up sound lacked good old-fashioned club thrills. Sometimes—just sometimes—you've gotta play to the crowd and not for yourself.
Tonight was no different, his confidence translating into a set at The End that was never overanxious to please. On several occasions, Watt was bold enough to use prolonged breakdowns where virtual silence took hold of the dancefloor—a brave move whilst playing to a sold out crowd in the venue's brimming main room. These silences however, were punctured by Watt's deep house in a set that was weighted with vocals. With his background, it's easy to see why he prefers a more melodic and harmonic style of vocal-friendly electronic music. His father was a jazz musician and Watt started out making solo jazz folk albums before going on to pop success with Everything But The Girl.
An extended remix of Radiohead's "Street Spirit" with the acapella of EBTG's "Missing" was a particular highlight of the night with its swirling, melancholic trippy disposition trickling down the crowd's collective spine. "I Need Your Loving" by Baby D captured the same sentiment but moments like these were wavering, interrupted by periods where there was a distinct feeling of staleness, scattered in amongst the more captivating sections. Watt's set lacked fluidity and cohesiveness, keeping real atmosphere at arm's length.
Over in the lounge, on the other hand, Prins Thomas and his space disco delivered. His obscure gems suited the open-minded vibe of those unmoved by Watt's pristine deep house. Because, no matter how sure of his selections as he might have been, Watt's rather polite, grown-up sound lacked good old-fashioned club thrills. Sometimes—just sometimes—you've gotta play to the crowd and not for yourself.
artist Ame
Sunday, 16 November
Just off Old Street, Plastic People's small, dimly lit dance floor and low ceiling was the perfect home for a Thursday night session of �me & Dixon ploughing their way through their deep, soulful house to a cluster of the capital's coolest clubbers.
After a late start, the crowd seeped into the darkened space as a relaxed Dixon radiated the floor with a fine selection of blissful, ambient beats. But as quickly as the room swelled to capacity, he took it to the next level with fervid tracks such as Afefe Iku's "Mirror Dance" and the inimitable "Game Over" by Tokyo Black Star.
Secretsundaze bosses, James Priestley and Giles Smith, were spotted milling around, chatting with the DJs in between periods of unreserved dancing, adding to the family vibe that filled the cosy venue. But it was a family up for a party and�after an hour of Dixon�midnight saw the arrival of �me's Kristian Beyer to a delighted faithful whose hands reached up to the low ceiling in fits of frenzied excitement.
By now the tempo was cranked and the party was in full swing. The sprightly crowd ushered in the latest Scharwz /Dixon / �me collaboration, "D.P.O.M.B." with a mixture of loving affection and crazed dancing. For the remainder of the night �me and Dixon continually swapped control of the decks but never swayed from their deep pilgrimage and always kept the intense atmosphere burning. Mixworks & Alex Picone's "Berlin Dub" was among the highlights, capturing the crowd's imagination and enthusiasm.
There is simply no better way to see an Innervisions party in London than on a Thursday night at Plastic People. The humble, passionate club was packed with an easygoing and up-for-it crowd that was treated to soulful, deep house of a high standard for the entire night.
After a late start, the crowd seeped into the darkened space as a relaxed Dixon radiated the floor with a fine selection of blissful, ambient beats. But as quickly as the room swelled to capacity, he took it to the next level with fervid tracks such as Afefe Iku's "Mirror Dance" and the inimitable "Game Over" by Tokyo Black Star.
Secretsundaze bosses, James Priestley and Giles Smith, were spotted milling around, chatting with the DJs in between periods of unreserved dancing, adding to the family vibe that filled the cosy venue. But it was a family up for a party and�after an hour of Dixon�midnight saw the arrival of �me's Kristian Beyer to a delighted faithful whose hands reached up to the low ceiling in fits of frenzied excitement.
By now the tempo was cranked and the party was in full swing. The sprightly crowd ushered in the latest Scharwz /Dixon / �me collaboration, "D.P.O.M.B." with a mixture of loving affection and crazed dancing. For the remainder of the night �me and Dixon continually swapped control of the decks but never swayed from their deep pilgrimage and always kept the intense atmosphere burning. Mixworks & Alex Picone's "Berlin Dub" was among the highlights, capturing the crowd's imagination and enthusiasm.
There is simply no better way to see an Innervisions party in London than on a Thursday night at Plastic People. The humble, passionate club was packed with an easygoing and up-for-it crowd that was treated to soulful, deep house of a high standard for the entire night.
venue Ministry of Sound
Tuesday, 14 October
It's been another summer of some magnitude for Secretsundaze, and one that has flown by with a plethora of shimmering line-ups that have included Radio Slave, Steve Bug, Carl Craig and Keith Worthy. With the final party paired with the album launch for the crew's Volume 2, Sunday's stage was set to finish the summer off in celebratory style. The only problem? The heavens weren't having it, opening up and leaving London amid a downpour that any South American rainforest would have been proud of.
Unavoidably, the rain caused the promoters to move proceedings indoors. But after the initial disappointment, something truly British happened and the crowd rallied together to have one hell of a party. The bouncers and the promoters set the tone early with high-spirited, friendly welcomes at the door. Then, once inside, the ever-smooth Giles Smith laid down his lush, spellbinding, deep soundtrack to the afternoon. Early on there was an almost Latin feel to the live and funked-up drums that swirled around the dancefloor. Then, as the afternoon continued, the rich, crisp sound quality that was pumped out of Ministry of Sound's infamous soundsystem perfectly complemented Smith's warm, techy feel.
As the afternoon turned into evening the bushy-tailed revellers were treated to mouthwatering lighting effects. The main lights went down as huge green laser beams streaked across the room from the floor to the ceiling. Often we were plunged into darkness, but then the swanky disco ball, hanging high over our bobbing heads shot out a flickering laser which ricocheted amongst the throes of sweaty, grooving partygoers.
This visual change coincided with the introduction of German deep house trailblazer, Dixon, who took things up another notch as soon as he hit the decks. One of the perks of the event being moved inside: No noise restrictions ala SS's August Bank Holiday outdoor event. As a result, Dixon was able to deliver an upbeat set that constantly crossed boundaries between house, techno and minimal whilst always keeping the kind of groove that has come to be associated with Secretsundaze.
Billed as the special guest, Vera certainly enjoyed being inside MOS as well. She was dancing away at Dixon's side for the entirety of his set, and then took that enthusiasm into her own set. She provided continued the vibe in a style that has seen her hold down residencies at Ibiza's DC10 and Monza. Her stark grooves scooped up the crowd and carried them into the morning until James Priestly returned to the stage to finish the summer off in a fitting style. With only memories and a double CD set from Priestly and Smith to tide me over during the winter months, I, for one, already can't wait for next year.
Unavoidably, the rain caused the promoters to move proceedings indoors. But after the initial disappointment, something truly British happened and the crowd rallied together to have one hell of a party. The bouncers and the promoters set the tone early with high-spirited, friendly welcomes at the door. Then, once inside, the ever-smooth Giles Smith laid down his lush, spellbinding, deep soundtrack to the afternoon. Early on there was an almost Latin feel to the live and funked-up drums that swirled around the dancefloor. Then, as the afternoon continued, the rich, crisp sound quality that was pumped out of Ministry of Sound's infamous soundsystem perfectly complemented Smith's warm, techy feel.
As the afternoon turned into evening the bushy-tailed revellers were treated to mouthwatering lighting effects. The main lights went down as huge green laser beams streaked across the room from the floor to the ceiling. Often we were plunged into darkness, but then the swanky disco ball, hanging high over our bobbing heads shot out a flickering laser which ricocheted amongst the throes of sweaty, grooving partygoers.
This visual change coincided with the introduction of German deep house trailblazer, Dixon, who took things up another notch as soon as he hit the decks. One of the perks of the event being moved inside: No noise restrictions ala SS's August Bank Holiday outdoor event. As a result, Dixon was able to deliver an upbeat set that constantly crossed boundaries between house, techno and minimal whilst always keeping the kind of groove that has come to be associated with Secretsundaze.
Billed as the special guest, Vera certainly enjoyed being inside MOS as well. She was dancing away at Dixon's side for the entirety of his set, and then took that enthusiasm into her own set. She provided continued the vibe in a style that has seen her hold down residencies at Ibiza's DC10 and Monza. Her stark grooves scooped up the crowd and carried them into the morning until James Priestly returned to the stage to finish the summer off in a fitting style. With only memories and a double CD set from Priestly and Smith to tide me over during the winter months, I, for one, already can't wait for next year.
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