For the third time, Brooklyn DJ Danny Tenaglia has delivered a contribution to the Global Underground series – a series that has been a cornerstone of house music over the last 27 years.
Previous instalments in Athens (1999) and London (late 2000) were big hits and have lasted the course – but in completing the trilogy Tenaglia heads back to his home borough. The mix includes his single Move That Body, with Cevin Fisher, along with what his publicity describes as ‘a multifarious selection’ including Moderat, Monika Kruse with Pig & Dan, Dino Lenny, Radio Slave and Basement Jaxx.
You can listen to the mix below – and check back on Arcana soon for a thorough review!
The incredibly prolific John Tejada returns with his 15th album – this time pruning his music down to the bare essentials.
With seven tracks clocking in at 36 minutes, this is a record that looks for economy, Tejada having undergone a rigorous quality control process to get it released. As with much of his music the outlook is instrumental, though there is a vocal guest – March Adstrum – on the central track Fight Or Flight.
What’sthemusiclike?
Tejada consistently impresses with his ability to write huge amounts of fully satisfying techno music that – while largely machine generated – has a profoundly beating heart.
As with much of his work, four to the floor is the base on which he operates – but there are always percussive nuances and melodic lines that keep the listener’s interest high and the dancer’s feet ready to go. Starting with woozy atmospherics, the single Simulacrum soon sets down a strong 4×4 beat, bolstered with extra percussion.
Someday has a golden glint to its production, shining through the hazy white noise. The Disease has that lovely steadying quality that Tejada can bring to his music, while Fight Or Flight – with an excellent contribution from March Adstrum – has lovely warm colours and shimmering textures. Centered is a funky piece of work – and a fine one at that – but Trace Remnant is even better, bolstered by Different Mirrors as a coda.
Does it all work?
It does. Tejada has an established style with intricate workings that repays repeated listening – and the golden haze he secures here is rather beautiful.
Is it recommended?
It is. John Tejada remains on top form!
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Published post no.2,006 – Saturday 11 November 2023
In the age of streaming it is quite a feat that !K7’s DJ Kicks series continues to serve such an essential purpose – and they have now added an 80th instalment to their ongoing odyssey. In their own words:
London-based, Australian-born Teneil Throssell, aka HAAi, is known for a strain of sonic psychedelia that metabolises precise sound design, melodic techno, electronic pop and thundering beats. Following the release of her acclaimed 2022 album, Baby, We’re Ascending, HAAi has reached what she calls “another career milestone” – an invitation to steer the next edition of !K7 Records’ acclaimed DJ-Kicks series.
HAAi approached this mix with two concurrent goals: to continue to iterate on her artistic theme – which she named ‘always ascending’ – and to highlight her flair for hyperkinesis and drama behind the decks, which she achieves with BPM left-turns, endless upwards tilts and sharp accelerations, liminal transitions and moments of pure euphoria. Within the sweeping journey she moves through an expansive selection of heritage classics, future-facing artists, friends, heroes, and voices from close-knit communities, alongside a number of her own exclusive productions.
Six years on from Compassion, his debut release for Ninja Tune, Matthew Barnes returns under his Forest Swords moniker for a powerful follow-up. The intervening period has seen him working on commissions writing music for film, ballet and video games – but as listeners will discover from his second album, Barnes continues to take a bold approach to his work.
Bolted was recorded in Barnes’ home city of Liverpool, in a warehouse space – and it includes singles The Low and Butterfly Effect.
What’sthemusiclike?
Expansive. The Forest Swords sound world is one with wide, panoramic views that are especially effective on headphones. Big, reverberant beats and synths are complemented by vocals that are deliberately treated, sometimes warped to blend in with their surroundings as they are on End or brought to the front for maximum effect, as they are on the powerful Line Gone Cold, an epic and emotive piece of work that closes the album.
Often it feels like Barnes’s music is telling the story of an industrial process, with the clanging of percussion in Rubble a working example. Butterfly Effect has rolling beats like a pinball machine but with widescreen synths out front, while Tar sounds like an old, distorted squeezebox pressed into action at short notice. Night Sculpture, an impressive construction, is dominated by a bold melodic chime and is typical of an ability to paint vivid and meaningful pictures in sound.
Does it all work?
It does. Forest Swords stands for distinctive, evocative music that draws from the past – 1980s acts such as Cabaret Voltaire could be mentioned – but also feels part of the future.
Is it recommended?
Yes. This is a bold, striking album that repays repeated exploration.
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Published post no.2,004 – Thursday 9 November 2023
This is the debut album from Scottish artist Joshua Mannie, better known in musical circles as Barry Can’t Swim.
His singles Sunsleeper and Woman have fared particularly well during 2023, fulfilling Mannie’s wish to deliver the energy of electronic music but with real time performance, so that the music doesn’t sound too manufactured.
The diversities of this album include the sampling of Brazilian group Trio Ternura on Dance Of The Crab, and a rich choral palette on Always Get Through To You. There are vocal guests, too – somedeadbeat, Falle Nioke & Blackboxx and just lil.
What’sthemusiclike?
There is a great deal of positive energy in the music here, helped by Barry Can’t Swim’s refusal to limit himself to a single area of music. Instead he shows himself to be a prodigious shape shifter, capable of bringing uplifting vocals to a mix that includes Afrobeat, deeper house, a bit of jazz, and what sounds like a freely improvised piano.
All of Mannie’s music is freshly minted, as though it were recorded yesterday. It ranges from Sonder, a lovely bit of airy, down tempo music with a soaring sax solo and bumpy rhythm, to Sunsleeper, which is a beauty with its rippling piano line. How It Feels is a good vocal, and could easily be a lot longer, but that promise is fulfilled by I Won’t Let You Down, which is a beauty thanks to the voices of Falle Nioke and Blackboxx. Often the music of Barry Can’t Swim reaches a semi-spiritual high, thanks to songs like Always Get Through To You.
Does it all work?
It does – and because of the instinctive approach to recording, this is electronically based music with a living, breathing heart.
Is it recommended?
Yes. When Will We Land? is an uplifting piece of work made by a producer of great promise and potential. Barry Can’t Swim has definitely provided some sunshine for the winter months, serving notice of another new talent on the Ninja roster.
