Teleosteopathy

As described on the Bleep43 podcast website, this is “a guest mix by Panorama Bar resident Prosumer, recorded live at To the Bone on 31/3/07″ and it’s only the fourth Prosumer set that we’ve managed to track down to date (thank you G) - the other ones are his RA podcast, his Beats In Space podcast and a short mix posted on mnmlssgs.

Prosumer Live @ To The Bone, 31/03/07 (Direct link)

This is the longest, coming in at 2 hours, so gives the best sense of the kind of magic he worked for me just over a month ago (it seems like an age now…) It’s got the jacking 80s stuff, it’s got the more current smooth deep stuff, it’s got soulful vocals, sexy vocals, downright dirty vocals and that non-stop metronomic kick that nudges you on through the night. The balance is a bit off in places but it’s not major.

I recognise about three tracks in this, but I’d love to know the names of several more - if you know any of those I’ve put below then let me know.

00:03:25 Fingers Inc. - “Music Take Me Up”
00:08:40 Henrik Schwarz/Âme/Dixon - “Where We At (feat. Derrick L. Carter)”
00:27:00 What’s this? Nice bassline
00:31:40 This sounds like something off Peter Van Hosen’s modyfier mix - is it new beat?
00:48:45 Round One - “I’m Your Brother” (This is the kind of track that would have given me nausea about two months ago…but now I recognise it as the first of many points during a Prosumer set where everyone just turns to each other and grins)
01:09:40 Old school! Nice snares.
01:13:15 Denise Motto - “Tell Jack (Jack The House)”
01:17:30 Mr. White - “The Sun Can’t Compare (feat. Larry Heard)” (yep, this set was early 2007!)
01:31:00 I feel like I know this one? I like the skittery snare giving it a bit of edge
01:37:30 This one’s great too - ‘Take me back!’ - would definitely like to know what this is, although the vocals seem to go over the next track too so I’m guessing it might be a mash of things

Well that’s all I’ve got. Have a listen if you like Prosumer, and buy his collaboration with Tama Sumo too if you haven’t already - just try not to look at the artwork for too long.

A long time ago in a galaxy far, far away….well, more like just recently…Laurent Garnier got all spacey and faced off with Darth Maul in the fight of the red-faced men. Oh I crack myself up (I really am in a stupid mood this evening).

Garnier’s certainly got the lightsabre-wielding sound-effects and the kick on “Back To My Roots” hits as hard as any jedi mind-punch. Something tells me Garnier’s more of a cocktail-party-by-the-beach kinda guy rather than an ass-kicking, face-tattooed space killer, but he evidently harbours some serious sci-fi fantasies here. I picture him wandering around at a mid-afternoon WMC pool party, congas and mojitos to hand, pushing the air with the best of them in his beach shorts, but behind every smile he’s secretly tazering people with the sheer force of his mind, zapping down imaginary spaceships and mournfully remembering the loss of his timelord brethren on Gallifrey (excuse me for mixing franchises here) with a few under-his-breath ‘pyeeaaw pyeeaaw’s. (I’m not a sci-fi fan, really I’m not…)

Listening to this at home I kinda want to dim the lights, turn on the UV aquarium, boot up Asteroids and don the old 3D specs just, you know, because. (I don’t actually own any of those things…yet). This track is - like Jar Jar Binks - pretty difficult to ignore. It’s got a lot going on and I imagine some will think of it as they would an unwanted, irritating, geeky, garrulous sidekick (like…) I’m not completely sold on it either but I don’t actually find it all that offensive. I think I need to hear it in a club - maybe in Space?!

The B-side is a lot less interesting at any rate, so I feel even more vindicated in choosing Prosumer over Dixon a while back. For my next LAN party i’m sure “Back To My Roots” will go down a storm. (I definitely don’t have LAN parties)

Laurent Garnier - Back To My Roots EP (Juno link)

We’re off to see Luciano this weekend at Fabric, but I’m hoping to catch a bit of Dub Kult beforehand at Café 1001, and maybe Sascha Dive at the T Bar - apparently it’s moving house soon so I want to enjoy the building while I can. Have a good weekend (I’d say ‘everyone’ but I think that’s overegging it a bit…)

(By the way, I joined myspace - add me if you’re friendly and not going to assault me with unintelligible drivel/adverts).

Following that Dandy Jack PA, here’s another set from the same venue - also posted by OBC, whose ‘recent topics’ should definitely be in your bookmarks if you like listening to sets. This one’s from Lemos who, along with Kreon, brought us the Lookooshere EP on Resopal Red - go to Ronan’s May chart to hear a great Anthony Collins mix of the B-side to that release. He’s also recently had an inaugural pair of (pretty good) EPs on Cécille’s Numbers imprint.

Lemos Live PA @ Studio 80, 30/04/08

This set is everything I expected really. It starts with some jazzy sax, bumps along happily into techier stuff and often indulges in the carnival-style ramblings that have emerged from high-profile releases like Matt John’s “Soulkaramba”. It even buys into the scene’s seemingly insatiable fetish for all things African with the inclusion of Fela Kuti’s “Upside Down” as sung on Masters At Work’s ‘MAW Expensive’, their Expensive Shit/Upside Down mashup tribute to the singer. The same sample appears on Alex Flitsch’s RA podcast and in that, as in the Lemos PA, it works for a short while - but there is an inherent problem with the sample when the freeranging vocals get creative with the time signature. If there’s one thing that doesn’t work with a 4/4 it’s an unpredictable sample and i’m surprised to hear the same problems in two sets. At least Flitsch is sensible enough to take out the kick in more difficult parts.

Quirky vocals/samples can be fun and they can fall flat. The ‘Yeke Yeke’ remixes seem to do a good job of separating the goofy from the grumpy on the dancefloor. No-one likes being called a miserabilist, but I think there probably is something to be said for caution when it comes to things like this - for me, the ‘Upside Down’ sample is very finely balanced between good and godawful.

Philip Sherburne commented a while back that dOP’s “Foly” set itself apart from the pack by virtue of its authenticity. The idea of producers having some modicum of communication with their source material definitely does speak of sincerity. Even so, I don’t think this got-the-t-shirt clause is a necessity for a sample to be worthwhile. Neither Loco Dice nor Michel Baumann went and recorded the samples for “Breakfast At Nina’s” and “Ghana Wadada” live, yet they still sound like the real deal, treating their respective muses (famous or not) with a delicacy that conveys a kind of reverence - when the treatment is as understated as this all accusations of gimmickry seem a bit heartless. And both tracks have a looseness that complements the samples, rather than attempting to crowbar them into a rigid techno structure.

But where some people pay thoughtful homage, the efforts of others can smack of tactless boredom. For me, the Italoboyz fall squarely in the latter category - if I want to listen to jazz I don’t need an unremitting thud to help me along. If I was being cynical I’d say that, magpie-like, Lemos and Flitsch have snapped up the shiny new trend for African samples and have tried to wedge it into their strictly European nests (of house) - and are trying to woo us with the results; unfortunately, the stolen jewels are rarely well-fitted to their new, more prosaic surroundings. I’ve yet to hear the new Henrik Schwarz/Amampondo EP properly - I wonder which category it falls under.

You can stream the whole of these tracks on last.fm:

Masters At Work - “MAW Expensive (Tribute To Fela)” (from Our Time Is Coming)

Fela Kuti - “Upside Down” (available on a remastered split with Music Of Many Colours)

In fact, a lot of Fela Kuti’s sprawling output is available on last.fm for free - what a great service. Unfortunately their beta design is all over the shop - hopefully they’ll listen to the feedback and sort it out before the official update.

Finally, I watched Walk The Line on Sunday night - the biopic of Johnny Cash with Joaquin Phoenix and Reese Witherspoon - and thought it was really worth a look.

This live PA was posted early today by OBC over here on RA. I’m not a Dandy Jack connoisseur by any means, but the few things I’ve heard about him/from him were enough to make me download the set. I know that he’s a Chilean now living in Berlin, that he’s been there with Ricardo Villalobos from the start, that he’s got a great name (and even better album titles) and that he’s been a member of the Narod Niki supergroup.

And now I know that his live PAs are irresistibly funky, sexy even, and charmingly oddball. Check the weird accordion stuff going on at 17 minutes in - you’d be forgiven for screaming ‘oh god not another Heater’, but this sample dissolves into far less straightforward noises, all menacing percolation. The mood gets jittery, hyperaware, broody…

And then, after shouts of ‘DANDY JACK BLA BLA!’, the real reason for this post kicks in. The track at 41 minutes is supremely dirty, unashamedly techy and maddeningly funky. The main hook sounds like a fly buzzing against a window pane, repeatedly flattening itself in the search for freedom - but as heard filtered through Aphex Twin’s most fucked-up vocoder. I should probably admit that it defies good description. When another voice starts shouting ‘AYE AYE AYE DANDY JACK!’ it’s difficult for me not to scream along with him.

First question: does anyone else like it this much? Second, more important question: does anyone know what it IS?!

Dandy Jack Live PA @ BLABLA, Studio80, Amsterdam, 30/04/2008

This bank holiday weekend promises something for everyone in London, with an incredible number of top-class events happening over the full 72 hours. Trust me, then, to arrange to go home this weekend. Just to make myself feel even worse about the whole fiasco, here’s a round-up of the things I would definitely consider going to, were I to have an ounce of sense and cancel my trip. Click on the party names for the RA listing - I’ve also shamelessly stolen their DJ photos, sorry!

******

FRIDAY

My pick for Friday night would be Agnès, who has recently released a stellar collaboration, the Louder Elvis EP, with his Genevan neighbour Lee Van Dowski. I went a bit crazy about his Dumbles Débuts album a while back and I have nothing but admiration for his straight-talking myspace blog. He’s playing Ditched Disco at T Bar, which is open until 2am. Maybe I’ll go along and catch the last train back…I want to see that facial hair in person.

If I could stick around, I’d be very tempted to go for something a bit more minimal after T Bar. Indeed, if you’re after more minimal fayre, then Lucio Aquilina (of ‘Magic M’ fame, although I prefer his ‘Feeling Plastik’ release) and his spastik bleeps would be the best follow-up. He’s headlining the relatively new Two AM party at 54 Commercial Street. It does what it says on the tin: starting at 2am, you can safely assume that everyone there will already be up for a long night in - there’s no definite close time.

Another short walk away is The Aquarium in Old Street, where Lasermagnetic (responsible for a great Corsica Studios night I went to last autumn) have teamed up with Redlight to put on a long, long night of deep tech house, headlined by the youthful Argy. Support comes from secretsundaze’s James Priestly, while the Lasermagnetic DJs run a second room for those after more discofied sounds. This one goes til 10am!

If you’re a little further North, and you like your disco to come from space rather than a garage (even if it’s like paradise), then the father of all things cosmic, Hans-Peter Lindstrøm, is DJing at samurai.fm’s 5th birthday celebrations at Visions Video Bar on the Kingsland Road, finishing at 4am.

If you prefer dubstep then you’d be hard pressed to do better than The End for the Fwd>> & Rinse marathon, going til 6am (and probably longer, knowing The End). It’s an allstar cast: Skream back to back with Benga, Appleblim, and one of my favourite recent discoveries, Martyn.

******

SATURDAY

So you’ve survived Friday night. Well done, but there are still two (or three, depending on how hardcore you are) nights ahead. The line-up at Fabric for Saturday is the same-old same old - that is, it’s incredible. Kompakt host the main room: Michael Mayer, Superpitcher and a liveset from Justus Köhncke. You’d be forgiven for giving Dave Clarke in room two a miss. If you’re only up for the Mayer-stro, though, you may want to make the most of Fabric’s new opening times/taxes - £8 after 4am, £5 after 5 - because there are plenty of other parties worth going to for a warm up.

Aptly, Warm are putting on a night at the recently refurbished East Village, with the DFA’s two Tims - Sweeney and Goldsworthy - hosting an evening of disco/electro/funk, Beats In Space-style. Skull Juice provide the ground-floor blogbeats. Nearby, there’s a free party on at the Underbelly on Hoxton Square called Ickle Freitag, with Dub Kult (of ‘Cluster Fuck’ fame), which should be worth a look.

More centrally, Border Community are putting on another big night at The End - I went to one a short while ago and it was a jolly affair. This time around, the usual suspects are joined by the enigmatic Black Devil crew in a rare appearance. Personally, if I was after more house/deep stuff, I’d prefer to go down to Brixton to Plan B, where NYC upstarts The Martinez Brothers will be showing off their enviably precocious talents at the Deep London night.

Or, if all of that sounds a little too gentle and above-board for you, then the unholy union (orgy?) of Deviate, Chibuku, Man Make Music and Temba may be putting on the only party worth the scum under your fingernails. The launch of the Lake Of Stars festival sees Justin Martin of Buzzin’ Fly and Dirtybird play sordid house and techno in one room, with Trojan Soundsystem’s reggae/dancehall/dubstep mayhem in the other. This is in Cable St’s Unit 7 studios, the site of last year’s Field Day afterparty. If you like loud loud music and dirty dirty walls then this is the place.

******

SUNDAY

Sunday daytime sees the party I’m most gutted to be missing, the appearance of Rhadoo at secretsundaze, down on the terrace outside Ministry Of Sound (although the poster says Cable St, I think this is a mistake). I’ve heard it’s sold out, but you might be lucky - Rhadoo’s latest Dor Mit Oru EP shows that he’s got enough swagger and clatter to keep you up while the sun sets. It goes from 2 in the afternoon until 10pm, just in time for you to…

Wet Yourself, where my current fix, Martinez, is burning it up with the Disco Bloodbath guys for a night of pure madness at The Aquarium. If you’re still going after that, then the Lasermagnetic Warehouse Party at Cafe 1001 on Brick Lane will be going long into the day, with Andrew Weatherall showing all the young’uns how it’s done.

******

Remind me again why I’m going home? Oh yeah, no friends around London (at least, no friends that enjoy the idea of 72-hour techno marathons) and no money. Enjoy the weekend - make the most of it.

Listening to Anders Ilar’s new album, Sworn, I immediately want to locate it, like a pin in a map, among its putative neighbouring territories in dance music. The soft snow and mist of the Echospace label billows to the polar North. The dampened clangour of Efdemin’s faceless high-rises and monolithic church spires resonate in a built-up metropolis to the West. And the green green grass and rolling meadows of the Border Community sit, like a trance-thirsty Shire, somewhere to the south. Geographically bizarre though it may be, I think this map nevertheless proves to be a useful guide to the sounds on the album.

This analogy was helped into existence by the context of my first listen to the album: on the train back from Oxford last night, as the sun set. Techno by its very nature suits the rhythmic, rolling motion of a train journey - at least when there aren’t engineering works - but in Sworn this locomotory aspect is especially pronounced. I think it’s because the momentum comes just as often from the ceaselessly undulating basslines as it does from a 4/4 kick. And those basslines, rather than follow usual phrasing and timeframes, often unfurl in unexpected directions. Secret gardens, dead ends, two-way mirrors. It’s all very enchanting.

Add a setting sun into the equation, and you might forgive me for getting a bit more rhapsodic than I would otherwise - indeed, listening to Sworn in an office with no natural light and the most primitive of air conditioning systems doesn’t produce quite the same pleasantly soporific state.

You can listen to samples and buy the album from the Level Records website, or from any good record store (I never understand this phrase - surely you measure a store’s goodness from its stock, so it’s almost a tautology?) You can also grab a couple of livesets from Ilar’s own website, pineSKY, the more recent of which is definitely worth a listen.

******

The release of this album intersected with me finally getting round to hearing Donnacha Costello’s Colorseries compilation. It felt like a mixture of serendipity (I arrived at Colorseries because I was interested in Costello’s ambient work) and morphic resonance. Costello’s palette is an earlier, parsimonious version of Ilar’s. Take the closing track on Sworn, “Lakeside”, which I also happen to think represents the shining peak of the album. It sounds densely layered, several ply thick, but on close listening its individual strata seem bafflingly straightforward. A nice trick. Costello’s ‘Grape B’ pulls off the same stunt using an even barer canvas. It’s spare but spellbinding. I’d call it the missing link between volumes I and II of Selected Ambient Works, sonically and ideologically.

I was trying to describe to my friend why I liked Colorseries so much, so I said something along the lines of: “I like music with lots going on, but sometimes I like music which has very simple parts but still sounds artful.”

The deadpan response that I should have seen coming: “So what you’re saying is, you like minimal techno?”

This new compilation on the ~scape label is called Round Black Ghosts, a title that - according to the press release - “reflects the mysterious joy of fathoming the unknown”. I should make clear then just how much of an unknown quantity dubstep is in my musical experience, roughly limited as it is to the Burials and the Bengas of the genre, along with a slow creep of dubstep/techno crossover releases. The most famous of those is Ricardo Villalobos’ remix of Shackleton’s “Blood On My Hands”, but it’s the Guillaume & The Coutu Dumonts remix of Next To Nothing that gets me most excited.

In short, I’m one of those people who’ll tell you ‘yeah yeah I saw Skream and Benga DJing back to back, it was amazing’ (it was!) but will probably leave it at that. Boxcutter’s album from last year left me cold, and I confess that Ikonika’s recent outing on Hyperdub is still proving to be a little too hyper for me. Listening to this CD, however, there is nevertheless much enjoyment to be derived from fathoming this unknown through the delicate and almost always optimistic lens of the ~scape aesthetic, even for a neophyte like myself (check the big word - neophyte!)

That aesthetic - feather-light, sculpted, ephemeral, that sort of thing - is nurtured by label-heads Stefan Betke (aka Pole) and Barbara Preisinger, and on this CD in collaboration with Tim Tetzner from Dense Records, a shop that, from their website, looks to be the music shop that’s fine of my dreams. Betke’s fascination with dub/dub techno - see his early, classic 1, 2 and 3 releases as Pole - has recently made the inevitable progression to include dubstep. His popular RA Podcast (download) mixed tracks from bigshots like Mala and Pinch with releases from far less recognisable names - well, at least to me anyway.

Then there was the fine array of producers employed to rework his Steingarten album, including a fascinating reworking of “Achterbahn” by the aforementioned Shackleton. Betke’s track on Round Black Ghosts continues where that album left of, clopping around the icy mountains of Bavaria on a listing bassline that continually threatens to veer off the precipice.

Compared to that, Martyn’s opening cut is positively summery. It’s the latest in his impressive run of concise but expressive productions, this time eschewing the heavier bass and drums of most dubstep for a lighter, more ~scape-y touch. Later, the compilation’s only “true techno fiends” (that press release again) Syncom Data contribute what unexpectedly proves to be the most subdued cut on the album. 2007’s “Beyond The Stars” is on a frequency from even farther away than that - maybe this is what those aliens will hear when “Across The Universe” finally reaches its titular destination…

Other tracks from Ramadanman, who’s been getting attention from Villalobos recently, and Elemental are much heavier, stretching what we know of the ~scape sound to its darker limits. Elemental’s track sounds like Cobblestone Jazz on even more acid than usual. Still, the overall impression from the CD remains that crackly, fizzing, dubby veneer that forms just the top layers of most productions. With this compilation, Betke & co. have brought together dubstep’s most recent crop of talent and have harvested a fresh, invigorating collection of flavours. The next step for me will be looking up the original releases and going from there.

******

Elemental is apparently one of dubstep’s few live performers. Livesets in techno seem to be a tricky proposition even within a relatively regimented time structure, so I find it much more difficult to fathom how a liveset can work within dubstep’s limber syncopation. This set from late last year however shows off Elemental’s most military approach to rhythm. It’s cohesive, measured and, compared to the ~scape CD, sometimes even a little brutal. Highly recommended.

Elemental - Live @ Corsica Studios, 13/09/07
01. 925
02. Desert Storm
03. Raw Material
04. Empty
05. Boxed In
06. Shiner
07. China White Remix (Dot)
08. Zimbal Dub
09. Blob
10. Get Up
11. Strange Brew pt 2 (feat Lohan)
12. Fur Drum
13. Arise
14. Sine Classic
15. Stompa
16. Espionage Remix (Search & Destroy)
17. Dangerous (Elemental + 3D)
18. Attack (Elemental + 3D)
19. Sirens/Bleep/Tribute Outro
[all tracks (apart from Dangerous) arranged + mixed live]

******

Martyn is playing alongside Skream, Benga, Appleblim and others at the bank holiday Rinse.fm Fwd>> party at The End if you fancy getting your insides pulverised, although I’ve been told that Plastic People is the place to go for serious internal injuries. Let’s hope I can make it there one day - Derrick May played there a while back and I’ve been regretting missing it ever since.

One label quietly proving itself highly watchable of late is Dan Ghenacia’s Freak n’ Chic. Last year the label was the platform for releases from some rising stars - like Miss Fitz, whose Villalobos-esque Vivacious Voices EP presaged more widely appreciated work (and an RA podcast) as one half of Mara Trax. And there were a couple of EPs from Marc Antona who subsequently appeared on the much larger Mobilee and Sender records. More recent outings from Ghenacia himself (the Garden EP) and Dyed Soundroom (the Question EP) have been showing up in charts and and mixes from DJs across the spectrum of styles. The label’s aesthetic seems to focus on the deep, swinging and above all groovy - always with an exotic twist of something that gives them a chameleon-like ability to fit in with almost any sort of mix.

It’s great news, then, that Ghenacia himself is releasing an official mix that slots some Freak n’ Chic favourites in amongst other oddball wonders from dOP, Seth Troxler (the suddenly ubiquitous ‘Doctor Of Romance’), Andomat 3000 and the like. The CD is called Eyelights and it’s out at the end of the month. Add that to the upcoming Berghain 02 mix from Marcel Dettmann on Ostgut and my evenings in June look like they’ve already got their soundtracks sorted. I’m lucky enough to be seeing Dettmann DJ in Manchester on Friday 6th. If you’re in the area, then don’t miss out.

You can catch Ghenacia spinning alongside Geddes at the Mulletover party this weekend in East Village near Old St. I’m sad to be missing it so I’d love it if anyone who goes can let me know what it’s like. The venue and sound were pretty good when I saw Anja Schneider there so it should be a good party. Ghenacia’s also playing Gatecrasher the weekend after, if you’re going to that and aren’t into the Chemicals/Fatboy thing… This weekend there’s also an Octave One/Ewan Pearson/Matthias Tanzmann party hosted by Brand New Fiction going down at Corsica Studios (listing here). Sometimes we’re just spoiled for choice eh.

******

Another artist on that Eyelights mix that has been getting a lot of press lately is Johnny D. I’m not quite as evangelical about his Orbitalife release on Oslo records as some, but there’s no way I can argue with this ridiculously funky set posted on Get The Curse recently. Someone in the comments has remarked on the section from 15-30 minutes being ‘totalement folle’. That’s the best description for it: crazy. I’d love a tracklist. Apart from a weird bit around 49-50 minutes the whole thing is one long percussive carnival of madness. (Apparently it’s over a year old, but it sounds no worse for it).

Johnny D - Get The Curse podcast (Recorded live 11/01/07)

From his discogs page it looks like Martinez has been doing his groovy thing for quite some time now, long enough at least to beat the many other ‘Martinez’-es to the un-numbered punch. I included his ‘You…’ track in my February IAMYOURFACE mix alongside Marcin Czubala’s similarly titled and equally ace ‘I Am You’.

‘You…’ came from Martinez’s cracking Burning The Midnight Oil EP on one of my favourite labels, Cray1 Labworks. He’s got a new release out on 3rd Floor called the Retrospective EP and it’s another stomping success. It’s got that swagger I’ve been enjoying from Kate Simko recently, loping along on a muted bassline, but that lower section supports a twitchier upper half more reminiscent of the stuff on Tuning Spork I’ve been enjoying so much recently (from Hugo especially - his new ‘The Siren’ floored me recently).

All that preamble is my namedropping way of saying that I hope this sound gets even bigger as the year progresses. The slinky basslines, the light-as-a-feather hihats, but then some really punchy midsections that go straight for your intestines. I can even see it working well with some of the deeper, more jacking stuff coming from Berghain etc. It’s got that defined sensibility to it but is perhaps just a little looser around the hips. Hear some samples here:

Martinez - Retrospective EP [3rd Floor] (Samples)

If you want a much better idea of the kind of noise Martinez is making, here’s a link to his promotional mix from April. I’ve been listening to it this morning and it’s very solid stuff. With the Simko and Dettmann sets I’ve picked up from SSGS and the Chaton mix over at HIAF, May has thus far been a month of blisteringly good mixes. Add this one to the list.

Martinez - Promotional Mix 13/04/08

Consider this a companion mix to the round-up below, including as it does tracks from Klockworks and Polder, along with various other favourites, some newer than others. 12 tracks in 45 minutes, I tried to give it a strong shift of moods: from conga to frisky house to deep space minimal and through to the kind of warped sounds that could only come from someone like Seth Troxler.

Pop-Bleep-taBOOM April ‘08 Mix
01. Riva Starr - “La Conga” [Dirtybird]
02. Klockworks - “Red Handed” [Klockworks]
03. Polder - “Frisky” [Intacto]
04. SLG - “Bleep Bleep” [Trapez]
05. Marco Carola - “Lost Connection” [Plus 8]
06. System 7 - “Space Bird [Dubfire Deep Space Remix]” [A-Wave]
07. Gimikk - “Poppop” [Arearemote]
08. Tadeo - “Fractal” [Cray1 Labworks]
09. Klockworks - “Steady Plus” [Klockworks]
10. Seth Troxler & Patrick Russell - “Doctor Of Romance” [Circus Company]
11. Prompt - “Taboom” [7 Noise]
12. EQD - “#001 A” [Equalized]

******

If, instead, you’d prefer to listen to a proper DJ at work, then the only place you should be going is House Is A Feeling, where Chaton has contributed a stunning guest mix called The Lost Library. It’s one of the best sets I’ve heard this year, taking the listening on a real voyage through a bewitching range of moods and styles without any of the prodding or volte-faces many others are prone to indulge in when making these sort of showcase mixes. It’s summer music of the best sort.

******

Finally, is anyone going to this?