Still riding high on the success of their second artist album, Another, Crimea X offer up two more singles from it in the form of A Present and Haunted Love. Ensuring the package is even more essential are remixes from Lauer and non-stop Dutchman Legowelt, and of course it’s worth mentioning again that the originals were both co-produced and mixed by Norwegian legend Bjorn Torske.
Haunted Love is awash with seas of liquid synths and floaty-light vocals. It’s a brightly coloured track that chugs un-evenly on vast kick drums and echoes to the sound of distant glassy melodies. It’s rousing and uplifting thanks to the piano stabs and subtle cosmic energy that pervades throughout.
The remix comes from Running Back and Beats In Space associate Philip Lauer (who also works as Arto Mwambe with Christian Beisswenger and Tuff City Kids with Gerd Janson) and is a deeper, moodier affair. A mysterious kick drum lead groove sets the tone as the original’s pianos get vamped up into a more 80s leaning motif. It’s hugely engaging despite being relatively slo-mo and is the sort of end-of the night anthem that really sticks in you brain.
The other original is A Present, an ever-building and tumultuous brew of insistent drums and zithering synth lines. With vulnerable vocals floating up top and sweet, glistening analogue lines it’s a truly heartfelt indie-disco jam.
One of the most prolific producers around is Legowelt, an associate of Clone, Crème Organisation and Rush Hour that is also a celebrated hardware nut. His remix of A Present transform it into a foresty bit of deep house complete with impish synth lines, magical and mysterious melodies and a devastatingly snaking bassline.
Complete with two such fantastic remixes, these Crimea X singles are sure to prove as popular as previous efforts like Yev / Essential and recent Prins Thomas Diskomiks selection.
Soul Clap “Lauer Remix bringing that 80′s dance funk. booyaaa”
Will Saul “Love the Legowelt Remix and a strong EP all around”
Axel Boman “Love both the originals and remixes. Very good release!”
Lexx “Love Haunted Love and the remix, perfect for the early morning”
Kiko Navarro “Very nice originals which remind me the great era of electronic pop”
Tensnake “Wow, my favourite producers remix one of my fave album’s tracks, great”
Tim Paris “Lauer Remix is one of the most amazing things I have heard recently, 1000% support”
Ivan Smagghe “Proper balearic ?”
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As ever with the Hell Yeah crew, there is an interesting back-story to the label’s next release, the ambitiously titled Coast to Coast EP. Firstly, the title refers to the fact that Justin VanDerVolgen hails from the east and Doc Martin the west coast of America, but that’s not all…
The label boss first heard Alexander Robotnick’s ‘Undicidisco’ track in a set by Golf Channel associate Justin Vandervolgen. He went to ask what it was and turns out the track had only been released digitally. Keen to give it the full release it deserved on wax, he fully licensed it and got a remix from the man who first played it, as presented here. The track itself is seven minutes of playfully droning bass synths and boom-bap percussion. It’s alive with darting synth tweaks and twitches and races through outer space at an inviting pace, radiating good time vibes from start to finish.
It’s a similar story with the b1 – Hell Yeah’s Marco heard one of his (and dance music in general) heroes, Doc Martin, playing Florian Meindl‘s Hit Flashmob and immediately wanted to give it a full release, but not before asking Doc for a remix. That remix is released here and is a heavyweight, shuffling bit of house funk with a tight, knotted and tumbling bass refrain propping up soaring diva vocals and grainy, infectious claps. It’s a wavy and hugely inviting groove that has plenty of lip-curling attitude to it.
A fine release with a great backstory that comes complete with great vinyl artwork designed by Andrea Amaducci.
You might be family with Margot, the duo of Giaga Robot and Pepe behind Hell Yeah’s new EP: their single ‘Liuff Settanta’ became something of an underground quirky hit, getting picked up by Sven Vath for his Sound of the 13th Season compilation, whilst James Holden is a keen fan, not only playing much of Margot’s music, but so too are they a key part of the Border Community family.
The pair are live specialists too, and have played all over Europe recently as well as turning in a brace of remixes for Daniel Snaith’s might Daphni moniker. True to form, they continue to confound expectation on this latest 12”, serving up three epically rich tracks that combine analogue workouts with dub techno rhythms and coming backed with a Prins Thomas remix.
First track Fank1 bubbles and boils on a huge, almost edgeless kick drum as a grubby guitar riff curls its way through the middle of the track. From there an eco system of fried synths decorate the backdrop as the soft, pillow-y bed of dub continues to ebb and flow below.
Alt is hooked around an uneasy pattern of chords. It’s backed by tasteful, sporadic African chants and drums so lively they could only have been played live. It’s a slow burner, but eventually consumes your being in a way that anyone from Âme to Ricardo Villalobos might champion.
The remix comes from Norwegian disco heavyweight Prins Thomas. At ten minutes long it’s the very definition of an epic journey. Jangling synth lines dance around the loose drums, distant swirls of cosmic air add a huge sense of scale and all the while you’re just left listening in wonderment to the unfolding tale around you.
There are so many layers to Margot’s music, yet it never sounds cluttered or over complicated, it simply soothes and amazes in equal measure. On this evidence, Margot are heading on to big things in the not too distant future.
I met “The Double K” trough my mate Dan Cornish, he co-runs a fantastic and inspirational blog called http://dilate.choonz.com
Sometime ago I asked him to put together a selection for Balearic Gabba Sound System, he delivered something really special and I’m happy to share it with all of you, but let KEV introduce the mix:
I have finally got round to doing your podcast… it’s technically pretty awful, a few jarring transitions, I was planning to re-record it and try to make a better job of it but haven’t had time, got to collect the kids from school now!
It at least fits the bill of “something we can listen daytime… 1 hour…”!
Tracklist follows, people are mad for them these days I know, they want it handed to them on a plate – I remember when it might take you ten years to track down a tune you heard in a mix…
If you use it then please make it clear that I don’t claim to be a DJ or to be able to mix – I’m just a guy with some records!
OK here goes, complete with record labels for the trainspotters!
React 2 Rhythm – Intoxication [Guerilla]
Atypic – Otaku [Rising High]
Ultramarine – Saratoga [Rough Trade]
Joe Smooth – Reign [DJ International]
Renegade Soundwave – Deadly (Dub) [Mute]
Black Uhuru – Youth [Taxi]
Liquid – Liquid Is Liquid (Remix) [XL]
DJ Buz – Slave [No U-Turn]
David Morley – Angels [DS93]
Space – Uranus [KLF Communications]
Barbarella – Barbarella (Irresistible Force Mix) [Rising High]
Sunshine Productions – Above The Clouds [Just Another Label]
Foul Play – Open Your Mind (Foul Play Remix) [Moving Shadow]
Rockers To Rockers – What A Life [Different Drummer]
Following on from the floor filling delights of his last effort, Ragazzini / Diavolo Di Un Disco (played by almost everyone from Dimtri From Paris to Todd Terje, from Prins Thomas to Justin Vandervolgen), the Italian born Federico Costantini might well have decided to replicate the same formula for his next EP on Hell Yeah. But no, the man has more about him than that, and instead turns in three wildly different cuts that touch on a wide array of influences from broken disco to soul, post rock to African rhythms.
As a resident at Rome party Exe-Cute, Luminodisco knows how to work a dancefloor in style and does so again with the tracks here. Burundiness for example, which grows from the delicate rattles of cow bells and muffle of distant voices into a predatory disco crawl, laden down with xylophone sounds, squelchy claps and melancholic piano chords – it sounds alive, organic and like a field recording of some African savannah come sun down.
Hello My Friend again displays Luminodisco’s knack for getting you to dance despite his spare, slow arrangements. Here the kick grows in stature as blobs of synth, strained chords and a rueful menace all percolate around icy instrumental tinkles.
The Roman doesn’t release often, but, as evidenced here, when he does he really hits the mark: as such Hell Yeah Recordings are on the verge of getting a full album out of the man, so watch this space.
Art by Andrea Amaducci
“C’è un fruscio nella cassa sinistra” (there’s a rustle in the left speaker) is an Hell Yeah art showcase.
Some of the label most significative artwork moments exposed for one week from April 24th at Bologna hot spot ONO ARTE
On April 24th is aperitivo time with TEMPELHOF Live
and music selection by Crimea X and Balearic Gabba Sound System
This is the interview Bjørn Torske did for super-cool italian blog Sentireascoltare (Marco Braggion)
Ciao Bjorn, how are you?
I am feeling comfortable, but a little hungry.
How did you met Jukka and DJ Rocca for the Crimea X project?
I believe I first met Jukka and Rocca at an outdoor gig in Rovereto, I have lost count of what year it was but it was in the summer, and Fabrizio Mammarella was also playing, in addition to myself who did a “live” set with laptop.
Marco Gallerani was, as usual, the guy who brought me in touch with them.
Then I was asked to do a remix of their track “Varvara”, which was a very good experience, and they later did an excellent remix of a track from my own “Kokning” album.
Finally Marco drops the bomb on me and asks if I’d want to come in the studio with Crimea X to produce a full album with them! What can I say? I had never really “produced” another artist before, so I was a bit curious about how this would turn out in the end. But it did go really well, I believe.
It was a blast working with them, in a studio out in the country side, yet it was also enormously hot
that summer, phew!
In the release press notes it’s written that they brought to you different
machines every day. Is it true? Which analog machine do you prefer most?
The studio was well equipped with mostly analog bits and pieces, instruments and such.
Of course Crimea X do have a considerable park of analog equipment, so we decided if I wanted to use anything of the stuff in the studio, they would bring it in. Like in the track called “Essential” we decided to add the TR-808 so Rocca brought that with him the next morning, then suddenly we needed the Korg MS-20 and he would go pick it up during the
lunch break (no, after the lunch break).
Of the more curious stuff, we used a frame of gamelan drums which we found in a back room in the studio. It was like being in a playground.
DJ Rocca and Jukka are italians. Do you feel your sound is connected
in some ways to the cosmic sound of Daniele Baldelli?
My interpretation of the cosmic sound is, in addition to that it is often space related, is that it is a “style” of music that consists of a great spectre of styles, in the way that you can find something interesting in any part of the musical cosmos.
As a direct and conscious influence from Baldelli, it has come through the last ten or fifteen years, by hearing his productions and of course a lot of his mix tapes. I have yet to hear him in a club! Of course, Baldellis influence probably goes back to the start of my dj career, but without me knowing of him as a dj. A good example is the Belgian New Beat scene, with the pitching 45 to 33 making the records slower and more funky. I’m not sure about it but I’m tempted to think this idea first came from Baldelli, and then influenced the Belgian thing.
I also read on the press notes that you were listening to a lot of music
during the recording process. Is it true? Can you tell us some artists
I can’t actually remember listening to other music while being in the studio, but as I was in this area for about 8 days and had some dj gigs inbetween, I certainly got a lot of influence from the gigs, as well as driving around with Gallerani and his car stereo.
Do you think there’s a return to analog sound and/or progressive
disco sounds? I was thinking on the last album by Andrew Weatherall
(the Asphodells project). Did you listen to that? Do you feel you are
connected to that style?
I have not listened to this particular Weatherall project, but his productions and remixes
through the years have influenced me a lot, from Two lone swordsmen to the Echo Dek release with Primal Scream.
As for analog sound I think it will always be a key factor in my productions.
The digital revolution has for me brought a new challenge into the game – to avoid a uniform sound picture which so often is the result of a wholly digital production.
What are your next projects?
My work at the moment is in the field of remixes, so my own productions are put
on hold for a while. Of course, I always get new ideas and try to follow them up
so there is enough to choose from. I will in the near future concentrate mainly
on 12″ releases, and then see if there comes along material more suitable for
Is there any chance to see you in Italy in the next future?
I am of course hoping to get some assignments as I love playing and being
in your country!