Saturday, 4 July 2009

G IS FOR GIRL EATS BOY


Girl Eats Boy was an alias for Lol Hammond, after he left the Drum Club and after he stopped working as Slab with Nina Walsh (ex-Sabrettes). This was muscular techno.

Lol Hammond was part of the Drum Club - see here - which finished in 1995. He then worked for a short while as Slab with Nina Walsh (sometime GF of Lord Sabre) before going solo as girl Eats Boy in the 1997-1999 period. He produced a small number of singles and just the one album - Thrilled By Velocity & Distortion (1999) under this name.

This work doesn't compare to that he did as part of the Drum Club. But if you ever liked techno-squat music or had a dog on a string then this is for you. The first track from 1997 is the best.




Friday, 3 July 2009

NEW MIX: THE BLACK DOG


Some news about Black Dog releases and a new mix to download.

The second single from the album "Further Vexations" features "Tunnels Ov Set" reworked into three new forms by Autechre, Bass Soldier and The Black Dog themselves. The EP is rounded off with the exclusive new piece "Tripside Syndicate".

A1. Tunnels Ov Set (Crookes Mix)
A2. Tunnels Ov Set (The Bass Soldier's Manor Top Mix)
AA1. Tunnels Ov Set (Autechre Remix)
AA2. Tripside Syndicate
Full Info and Audio: http://www.theblackdogma.com/tbd/?p=975

Pre-order the vinyl: https://www.duststore.com/

The Black Dog DJ Set @ Sheldon Row 2009

There's a new DJ set online now for you to download.

Tracklist
01. The Black Dog – Stempel (Edit) – Soma Recordings
02. Paul Kalkbrenner – Moob – BPitch Control
03. Rhythm & Sound – Poor People Must Work feat Bobbo Shanti (Carl Craig Remix) – K7 Records
04. Rob Hood – And Then We Planned Our Escape – Music Man Records
05. Water Lilly – Invisible Ink (Black Strobe Arnaud Rebotini Mix) – Mental Groove
06. States of Mind – Elements of Tone (J’s A Mix) – Plus 8 Records
07. Newcleus – Jam On It (Claude VonStroke & Galen Disco Kryptonite Remix) – Deeplay Soultec
08. BSOD – A Bit Sketchy* Fragments. Datassette – Box – Ai Recordings
09. Pan Tec – Espias Psiquicios (Jonas Kopp Psiquic Remix) – Spectral Sound
10. Avus – Furry Hat – Border Community
11. Sweet n Candy – Act Up – Laka-Tosh
12. Ellen Allien – Go – BPitch Control
13. The Black Dog – You’re Only SQL (BCN Mix) – Soma Recordings
14. Regis and Female – C/Chaos – Dust Science Recordings

G IS FOR GUSGUS


GusGus are an Icelandic group, including ex-members of The Sugarcubes when Bjork left to go solo.

NME: Gus Gus began as a creative collective of nine members, ranging in ages from 19 to over 30 and spanning a wide spectrum of backgrounds and interests, including two film makers, a computer programmer, a photographer, a DJ, an actor, a political campaigner and a film producer. The original line-up featured Steph Stephenson, Daníel Ágúst, Biggi Thórarinsson, Magnús Jónsson, Herr Legowitz, Hafdís Huld, Stefán Árni, Siggi Kjartansson and Baldur Stefánsson. They assembled almost accidentally when Siggi Kjartansson and Stefán Árni sought a cast for a short film they were making. When shooting was postponed, songwriters Ágúst and Kjartansson suggested they make an album. Polydistortion was recorded in 11 hectic days and was released in Iceland in late 1995. A copy found its way to the UK's independent label, 4AD Records, home of the Pixies and the Cocteau Twins. Liking what they heard, 4AD signed the band and Polydistortion was released in the UK in Spring 1997, receiving widespread critical acclaim.

The second Gus Gus album This Is Normal displayed an eclectic range of influences, taking in several styles including hip-hop, funk, electro, techno and house. Despite their experimental tendencies and often unusual lyrical themes ("Ladyshave' explores a sexual fetish), dance music is integral to Gus Gus" sound and influences such as Carl Craig (who remixed the single "Polyesterday"), Masters At Work, Sly Stone and Prince can be heard. The band have gained plaudits from such respected names as Madonna, Beck, the Beastie Boys, Nellee Hooper, David Byrne and the DJ, Sasha, who remixed their track "Purple" with the Light in 1998. The 2000 release Gus Gus Vs. T-World featured remixed versions of tracks recorded by Biggi and Legowitz (as T-World) before they joined Gus Gus. The band's sprawling line-up was reduced to a core of four members (Thórarinsson, Legowitz, Stephenson and new singer Urdur Hakonardottir) on their third album, Attention, released in 2002.

As for now, their May newsletter says: "Summer is here and our boys in Gus-gus are livelier than ever. This winter the seeds for the “24/7” album were planted in the studio at Önundarfjordur – and the crop will be harvested and disseminated far afield this summer. The testing of “24/7” has been gone over tremendously well in the Icelandic market, despite a national dance of financial crunch in times of crisis. The result of a remarkable diligence and resilience was obvious at the two first SRO local Gus-gus performances in Reykjavik and in Akureyri – you could see the perspiration cover the walls, jaws caressing the floors and all joints squirm and wriggle in amazement and joy !"

A number of tracks from just before and just after the millennium. Polyyesterday is a personal favourite whilst David is a critics favourite (released on Darren Emerson's Underwater label):



GusGus - David mediafire

GusGus - Anthem mediafire



Thursday, 2 July 2009

G FOR GRANTBY


Just a quick one this. Grantby (Dan Grigson) hasn't released much himself but does have a pretty good remix catalogue. His music tends towards the leftfield downtempo.

I don't really know anything about Dan, so this is from last.fm: Grantby aka Dan Grigson released a 12” on Cup of Tea records in 1995 (COT 13) called Time Booth. Hereafter he remixed over a dozen of songs for other artists (under which also the track ‘Home’ from Depeche Mode) and appeared on several compilations such as Coffeetable Music and the famous Headz 2B edition of Mo’Wax. Though Grantby is critically aclaimed for his triphop / downtempo sound, information about him and his future intentions is rarely known. Recently one of his fans started a website and since Grantby has granted his permission for this, the site is now official (www. grantby.com). Grantby is currently finishing a project involving sounds and images recorded over October 2006 in West Cornwall, and a 1970’s mixing desk Grantby has modified into an instrument.



G IS FOR GABRIELLE


You wouldn't really exepect a R&B artist to appear on these pages. But Gabrielle was never a conventional pop star. She didn't only have R&B/Urban remixers for her work but also dance remixers. And she had 'that' eye patch.

She was something of an outsider at school, a gawky kid with a lazy eyelid (hence the later eye patch), but was inspired to starts writing lyrics and songs after writing poetry in her English lessons. She wrote her first song at the age of thirteen, and would put on lunchtime performances for friends 'until the dinner lady caught me and put a stop to it.'

Gabrielle kept up the music after leaving school, but in distinctly unglamorous circumstances. Doing temp work by day in the Lord Chancellor's office, she performed unpaid in various West End night clubs, until someone she knew lent her the money to record a demo. The resulting track, 'Dreams,' which relied on a sample of Tracy Chapman's 'Fast Car', gained attention from execs at Go! Beat, such that by 1992 Gabrielle put the ink on her first recording contract.

'Dreams' was rerecorded and released in the early summer of 1993, with the Chapman sample removed, and the girl with the eye-patch had a stunning debut single on her hands - the song broke the record at the time for highest chart debut, entering at number two and landing the number one shortly after.

Further single success followed in October that same year, in the shape of 'Going Nowhere', which again reached the UK top ten. Likewise, her debut album 'Find Your Way' was released that month, and reached number nine, selling a million copies globally. The deluge of good news was then capped with her winning the BRIT best newcomer award.

As the stellar successes of her career were only just starting to sink in, domestic life for the singer took a horrific turn for the worse.

Her ex-partner Tony Antoniou, the father of her son, went on trial in Nottingham for the murder of his step-father, just two days before Christmas in 1995 (stabbing him and then beheading him with a samurai sword). The resultant media coverage of the 1997 trial could not have been more unwelcome for the singer, not least because of the knowledge that her son would eventually need to know the full story. Gabrielle has stated that thanks largely to what happened, she has not been able to trust men since, and in fifteen years has not had a meaningful long-term relationship.

Her career faltered although she has continued to make music. From 1996 and 1999:





Wednesday, 1 July 2009

G IS FOR GLOBO


Globo were oddball UK dance act on Hydrogen Dukebox. Both band and label could be hit and miss but when they got it right, they got it very right. Sampling a police interview for a single isn't the mark of the faint-hearted.

The sampladelic act Globo released their debut album, This Time It's Globo..., on Hydrogen Dukebox in May 2000, though not before a questionably-sourced police interview sample on their 1995 single, "13," attracted a lawsuit and delayed its release. Globo used parts of an interrogation for white label releases of this track. They had to remove it for the proper release because it was part of an interrogation in a case still in court. Thought I had that white label somewhere but can't find it. The mix below is from the CDS.

Globo are based in Norfolk (you couldn't get less rock and roll) and were formed by the burnt out remnants of art-rock group Basti, they claim they are "less a group, more an experiment" and have a sort of Devo-ness about them (minus the hats). Indeed they have released a cover of "Whip It". During 2008 they have worked on a cover version of the entire This Nation's Saving Grace by The Fall, which features guest performances from other local artists principally Mia Vigar, Bearsuit and The Neutrinos. You can buy it from their site and watch it on Youtube. They continue to produce a weird hybrid rock/art/terrorism today.




Globo website

Tuesday, 30 June 2009

G IS FOR GOLDEN CLAW MUSICs


Who'd have thought that a member of shouty indie-dance Pop Will Eat Itself would go off in 1995 to make ambient orientated sounds? Graham Crabbe did (Geddit?).

Golden Claw Musics was the main musical project of Crabb after he left Pop Will Eat Itself in 1995. Crabb had been making music which was leaning more towards the ambient genre and therefore too chilled for a PWEI release for up to five years prior to the split. In 1993, he remixed Pop Will Eat Itself's "Get the Girl, Kill the Baddies" as a B-side called "Part Man Part Machine", prompting him to release more of his ambient material. A remix of Pop Will Eat Itself's song "Cape Connection" was released on the limited 2CD edition of the album, Two Fingers, My Friends!. Crabb released the album All Blue Review, as well as an accompanying single for "Digging the Dancing Weed", with Eno engineer Marcus Dravs on Infectious Records in July 1994 to critical acclaim. Despite Crabb leaving PWEI to focus on Golden Claw Musics, they have not released any more material to date, which is a shame as it was an accomplished album.




G IS FOR GREEN VELVET


Curtis Alan Jones is better known as Cajmere but also used the Green Velvet name to produce the classic Chicago House track "Flash.

Green Velvet (aka Cajmere) studied chemical engineering at the University of Illinois, where he exposed himself to the energetic culture and lifestyle of house. In 1991, midway though graduate school, Cajmere returned to Chicago to pursue his dream of producing house music. In 1992, after surviving on cheese sandwiches and maximizing credit limits, Cajmere finally made an imprint on the dance community with his infectious experiment, "Coffee Pot" (It's Time for the Percolator) – Clubhouse Records. Then he moved on to more complex musical and lyrical arrangements with songs like Lidell Townsell's "Get With U" (Mercury Records).

The Cajmere and Dajae collaboration resulted in a #2 Billboard Dance Chart and International dance hit - "Brighter Days". It was at this point that Cajmere decided to start Cajual Records. Having his own label gave Cajmere the autonomy to attain his goal of developing a sound that was representative of Chicago - thus, putting Chicago back on the map. In 1993 Cajmere created Relief Records. The label became an outlet for he and other producers' more track-oriented work. The Relief label also gave birth to the experimental and eccentric, afro wig-wearing entity we know as Green Velvet - a Cajmere alter ego. Green Velvet produced the first release on the Relief label, "Preacher Man." He followed up the debut release with "Flash" and "The Stalker", both of which brought about unexpected praise and worldwide recognition. Resident Adviser

From 1995, the classic "Flash", which I think is as exciting as watching paint dry:



Bonus: Green Velvet - La La Land mediafire

Green Velvet website

Monday, 29 June 2009

G IS FOR GLOBAL COMMUNICATION (2)


More on the genius of Global Communication (Tom Middleton and Mark Pritchard).

This time we're going to the end of Global Communication. After the ambient wonder of 76:14, there was huge anticipation for their new work. But never ones to stand still, in 96 and 97 they went off in other dance directions with deep house and awkward techno work closer to that of Aphex Twin. I was gutted. But it was still highly regarded. From 96 and 97:





G IS FOR THE GOTAN PROJECT


Electronics meets tango with the Gotan Project at the turn of the millennium. Much loved at the time, although I always found them a bit too coffee table niceness.

The driving force behind the founding of Gotan Project was a French DJ by the name of Philippe Cohen-Solal. Born in 1962, Cohen-Solal began his career in the film world in the 90s, working as a music consultant for a number of leading film directors including Tavernier, Mikhalkov and Lars Von Trier. He also made something of a name for himself as a composer.

Meanwhile, Cohen-Solal's future associate, Christoph H. Müller, was busy forging his own reputation on the electro scene in Switzerland. Müller, who was born in Switzerland in 1968, was a veritable tech whizzkid, tinkering around on machines from his early teens.

The foundations for Gotan Project were laid in 1999 when Müller and Cohen-Solal met the Argentinean signer and guitarist Eduardo Makaroff. Born in 1955, Makaroff had relocated to Paris in 1990. Like Cohen-Solal, he had come from a cinematic background, composing music for films and television movies in Argentina. After moving to France, Makaroff made a name for himself as conductor of the "Club Tango" orchestra at fashionable Parisian brasserie La Coupole.

Müller, Cohen-Solal and Makaroff officially joined forces in 1999 to form Gotan Project, taking their name from the backwards slang word for 'tango'. The trio delved into the traditional music of Argentina, discovering in tango and other traditional genres such as milonga and chacarera, the same ingredients as electro.

"La Revancha del Tango" was finally released in October 2001 and distributed in France on the major Barclay/Universal. The album was an instant and unmitigated hit. Critics in the European press showered "La Revancha del Tango" with rave reviews, praising its creators' musical elegance and erudition. I bought the album but it lies unloved in a cupboard. It's too smooth and unruffled to pay attention. But if you're having a dinner party (you do have dinner parties don't you darling?) it's perfect. From 2002:



Gotan Project website