Matias Aguayo: Are You Really Lost?
Aguayo is one half of Closer Musik, whose “One Two Three-No Gravity” has endured as a pivotal track played at moments at the club when you reenter reality and look around at what you left. Dan Bell put it on his 2003 The Button-Down Mind Strikes Back! album, but I remember it best from Michael Mayer’s Volume gig, where he and Superpitcher introduced the Kompakt sound to New York.
While “The Green & The Red” remind me more of something Perlon would release, Aguayo’s solo production brings to mind Kevin Saunderson in the Reese & Santonio period, organic, bodied basslines, full production, especially on the breath-boxed “Drums & Feathers” and “So In Love.” Other standouts on this record are “Radiotaxi” and “New Life,” which keeps reminding me of a “Kiko and the Lavendar Moon” sounding song I just can’t place.
Digable Planets: Beyond The Spectrum: The Creamy Spy Chronicles 2005
Reissuing your 12″s as an album is a good way to remind people how you tweaked them a dozen years ago. Indeed, if you missed these guys the first time around, or never looked before Blowout Comb, this is an essential record. It’s hard to imagine they’ll reinvent themselves or even continue in such a strong fashion after a decade-long layoff (I saw them live in a “teaser set” this spring and it stunk) so maybe it’s better to live in the past.
Various Artists: Famous When Dead IV
I can’t think of a label more consistently on top of dancefloor tastes than Playhouse. If we’re just talking albums, in the recent past they’ve put out Isolee’s We Are Monster, Captain Comatose’s Up In Flames and Melchoir Productions’ The Meaning — two and a half blockbusters (sorry Cap’n). “Scrapnell,” Isolee’s wet-with-reverb surf-techno joint makes it on here, as well as his mix of Recloose’s “Cardiology,” both examples of how dance music succeeds when it works outside of structural constraints. Tiefschwarz’s remix of Spektrum’s “Kinda New,” Fabrice Lig’s “Meet U in Brooklyn” and Max Mohr’s “Old Song” work in a traditional manner. This is essential listening if you don’t have it separately on vinyl. Plus a great nod to Jim Phillips’ Santa Cruz Speed Wheels hand.
Supergrass: Road To Rouen
This band had me when they were In It For the Money, and there are a few songs on this record worth listening to for that sort of aggressive Britrock harmonizing (“Tales Of Endurance (Parts 4, 5 & 6),” “Roxy”). They’ve diverged into two nasty camps, it sounds like, an Elliot Smithy bareness (“St. Petersburg,” “Sad Girl” and “Low C”) or a Led Zep-lite (“Road To Rouen,” “Coffee In The Pot” and “Fin”).
Nice work, but not as cohesive or engaging as previous projects. Great Kraftwerkian cover art, though.
I was disappointed by this, because I expected a reissue from a younger band to be more aggressive than Ta Det Lungt, Dungen’s first record to gain appeal here in the US, which bored a hole in my head when I first heard it. I find myself loving the 30-second vocal jam “Stadsvandring Del 2” and bassline driven “Vem Vaktar lejonen” but skipping the Jethro Tullish flute numbers.
So everything is topsy-turvy again. Minimal is maximal. Sasha’s acolyte plays the Wighnomys, Vector Lovers, Luciano, John Tejada, Ken Ishii, Egoexpress and more. At some point you just stop labeling and enjoy things as they come your way, and here they are, in five quality mixes.