Daphni is an alias of Dan Snaith from Caribou that focuses more on the other side of Electronic music – techno from the clubbing scene. It doesn’t mean Caribou music is not for the club, of course I heard a bunch of Caribou tracks in some clubs but only the remixed ones. The edited version of Ne Noya, a funk tribal world track with tricky rhythm, is absolutely an example of track that has the consistency to go well with another track in a DJ Set. But Pairs, accordingly to me, is the standing out track of the whole album. Pairs has everything you need to bring up the atmosphere – the tribal percussion that tricks people to believe it’s another disco-esque track, the acid synthesizer that darkens the vibes and the construction of up-and-down progression like a rollercoaster. There are no doubt a bunch of complains on the complexity in the production from people are so called – “music nerds” and “hard-core Caribou’s fans”. But set it in the standard of the dance scene, Pairs is stunning enough.
Two decades have passed and we will never deny the influence of MBV to the modern music – the glitchy, noisy guitar blending into the drum kit that created the most ambiguously ethereal sound ever. And there we have a wonderful remix by Andrew Weatherall – the legendary of UK electronic scene, who produced Primal Scream’s heavy-acid Screamadelica. The mixing is no-doubt similar to the sound of Screamadelica. But not blurry in the grey area of Alternative Rock/House track, it’s a club-friendly infinite loop twisted by the aggressive guitar and the tribal percussions. Weatherall’s sampling technique is beyond wonderful, using the multiple layers of vocals and instruments of MBV that creates the depth and the richness of the sound. Weatherall’s mix is definitely a standing out track which keeps him in the core-members of original House-music establishment in the early 90s.
The Balearic music was expanding strongly down to the South of Europe, a.k.a. Ibiza, Spain. Known for its samples of vintage pop music from 60s and 70s with a downtempo twist, Balearic had a revamp to feature more modern synthesizers and bigger kick-drum thanks to the native artists such as John Talabot. His remix for Delorean’s Seasun can be the best example of the case that possesses a strong character of House music and the shiny, chilling style of Balearic.
So the chance to get approaching to John Talabot is easier than ever, as his very first DJ set will happen soon in Hanoi, Vietnam this May. The excitement of this writer is actually very huge, VERY.
Becoming one of the most popular underground artists so far, Berlin-based Peggy Gou is on the top of every recommended video that YouTube suggests when you are looking for any performance from Boiler Room. The vibes of Peggy Gou are pretty clear once you watch her dj-set: dynamic, retrospective and full of energy. Peggy Gou’s recent release Once so far is the best EP that can blow up every party, including the B-Side Han Jan whose sound reminds a bit of Master At Work in late 80s-early 90s, with a touch of contemporary house music. Han Jan could be one of the most simple pop songs and also one of the most progressive complexed house tracks for mixing. Putting it in any category, Han Jan is still doing its best.
Oh dear, I am very obsessed about Mrs. Hardy.
the mid 60s-early 70s in the alternative scene, we have a musical shift from heavy psychedelic rock of The Velvet Underground, The Doors or even some popular band such as The Beatles to the soft-touch of chamber folk – a music genre that combines the guitar and the orchestra together. We know that Leonard Cohen, Nico or Nick Drake,… did it very well – the classic “These Days” becomes an unforgettable moment of Wes Anderson’s film, the deep-down voice of Cohen that suddenly melts our heart on a winter day. Well, at the country of ye-ye-ism, here comes the pop star Françoise Hardy who made the Chamber Folk at its best with her another-signature album La Question. The dramatic string, the poetic lyrics or the sensitive tone on Hardy’s voice steals everybody’s heart, ironically. Françoise Hardy’s vocal also changed in a different way: Tous les garçon et les filles presents us a gentle touch, slowly seductive voice. In her late-60s, it became more mature, melodic and dynamic. We all know she was not 18 anymore… But luckily, Hardy was still Hardy: shy, calm and always elegantly beautiful.
OH EM GEE, My latest bullshit post that could make you feel more embarrassed about the Sixties: you used to be into The Beatles & The Beach Boys, love Audrey Hepburn and adore Twiggy. But from now on, you will love more!
I. This Sammy Slabbinck’s Artwork.
Into the Wild © Sammy Slabbinck
II. Futura Black & LSC Condensed.
III. Nico’s Chelsea Girl (Album).
IV. Oh, and Nico’s I’m Not Sayin’.
V. The Velvet Underground and Nico too.
VI. And don’t forget debut album of Françoise Hardy.
VII. The Ronettes, yes!
VIII. If you are interested, try Miles Davis’ Kind of Blue.
IX. Breathless directed by Jean-Luc Godard.
X. And Ma Nuit Chez Maud, from Eric Rohmer.
Bonus: Try The Royal Tenenbaums if you have never seen Wes Andersons’, and this fim before.
Talking about Madonna in the 90s, we are talking about a real unapologetic bitch, rebel heart, queen of publicity,… She rules the decade with something extravaganza like Vogue, very controversial, shocking Erotica/Sex, tasteful Bedtime Stories and alluring Ray of Light. Talk about her most exciting musical direction? Ray of Light? Nope. That’s absolutely Bedtime Stories, because Madonna nailed the R&B stuff just so well, exactly what she wanted that time, is settling down after the scandalous past.
Bedtime Stories was such an confessing album that she revealed her most vulnerable moment, soft self-mocking-up, or bitching the public media,… in the tone of sweet and melodic R&B. I’d Rather Be Your Lover is obviously Justify My Love’s other-sided version. It’s innocent, romantic but still very confident and full of self-esteem that Madonna couldn’t ever loss. That’s just the past. Now she has lost it.