Hello, ISO Massive. I’m Sam – Scott and Jakub may have mentioned me before as SV4. I’ve worked with Jakub for a long time at Ghostly, and I have the distinct pleasure of releasing Scott’s work as Tycho on my label. Today, Scott and Jakub have humored me with some column space.
My musical history is all over the place from Hip-Hop to Italo to IDM to Funk, and i’d love to bring some of my favorite lost/forgotten gems to the table…
What i love about the ISO50 headspace is that it evokes a long-forgotten, if not imaginary, past. To my ears, these songs all share that elusive quality: it’s music from a time you think you remember, but were never alive to see.
Paul Hardcastle was a jazz guy with an electro hip-hop influence; dude was nice with a drum machine. You can still hear “Rainforest” and “19” on both late-night urban radio and at your dentist’s office. Daniel Wang put me onto this track and I later found the LP at a used-record store in Berlin. I’ve never found the opportunity to DJ with it, but it’s amazing to pretend there’s an audience that would want to get large to this.
Paul Hardcastle – Stop The Clock
Mike Oldfield is best known as the guy who made “Tubular Bells,” the eerie synth classic which was later adopted for the Exorcist movies. This cut is amazing – it makes you want to drive a speedboat as slow as it will go and watch the coastline.
Mike Oldfield – Foreign Affair
The Alan Parsons Project catalogue has some of the best “dad pop” of the ’70’s and ’80s. Parsons, a studio wizard with a great beard, was a production maverick and could write an amazing hook (“The Eye In The Sky” will make you feel like you’re at the mall waiting for your mom to run errands circa 1985). This track became big in disco DJs’ crates because of its endless groove and largely instrumental composition.
The Alan Parsons Project – Mammagamma [Instrumental]
Marc Moulin is criminally underrated and passed away last year. He is perhaps best known as part of the pioneering Belgian electronic group Telex, who have been immortalized by their Italo-style classic “Moskow Diskow” Moulin’s Placebo Years CD was reissued a few years back by Blue Note in Europe, but it deserves a much wider re-release. Moulin’s own work is more on the jazz-fusion side, but it’s heavy on the electronics, which is probably why he’s been sampled a lot – especially by J Dilla.
Burial and Four Tet have just put together probably this years best collaborative effort on vinyl. The vinyl release contains two 9 minute tracks that show off both of their skills of making catchy repetitive melodies that lay over airy soundscapes and softened keys. Moth has the potential to become a great piece to space out too while Wolf Cub asks for more of your attention while it plucks along and kicks into dubstepville.
I don’t know much about Bonobo, I really never gave them a real chance in the past because I thought it wasa lounge act mostly because of their album covers just reminded me of those ungodly generic Hotel Costa compilations. This Recurring track is sensational, reminds me of earlier Four Tet and just for you Four Tet followers the new Burial/Four Tet collab 12″ is mind blowing, i’ll post soon.
I was going to wait and make a post titled: Shout Out Out Out Out + Chk Chk Chk + Tings Tings and a bunch of other bands that feel the need that they need to have the same word in their band name twice or more but I got bored of it and erased it. Let’s just get to the real point here which is Shout Out Out Out Out is pretty great no matter what bad choices they make for a band name. The vocal is really catchy and parts of that cover are real nice but I feel that the better designed pieces are the smaller parts and the centered simple illustrations that aren’t as interesting take up too much of the cover, i’m not hating at all here i’m just saying is all.
One of the first 2xLP’s I ever bought that was for DJing something other than Techno or House but still only electronic was Miss Kittin & The Hacker: First Album, it had this feeling all the way thru similar to a beautiful girl that you looks sweet but rude and cold to everyone.
I think I read on Twitter somewhere that Sally Shapiro has a new LP coming out, if that’s true then i’m pretty excited to see what she does. Her last LP was a great release and she has grabbed great remixers like The Juan MacLean and this Lindstrom Dub edit pretty on point if you love drawn out space disco edits.
The deeper I dig into the Dubstep world the more I find myself obsessing over it and its impressive low end, this Martyn track even at a 128 bit rate rumbles like no other track that I have in my iTunes and the arrangement in the highs of the rhythm is some of the best i’ve heard in awhile.
Here is an older track from The Reflecting Skin aka visual artist Philistine DSGN, it has some beautiful epic parts similar to gorgeous work done by Bjork and Nine Inch Nails.
Not to creep you out with this being the song from Silence Of The Lambs but if you take it out of context its a pretty amazing synth pop anthem but still the imagery from the movie slide into my head.
Sally Shapiro – Time to Let Go (Lindstrøm Dub)
Martyn – The Only Choice
The Reflecting Skin – Shadow Of A Bomb [Instrumental]
I know what some of you might be thinking, Hey! i’ve seen a similar album cover recently by a few musicians like Adele but she just ripped it off from the IDM classic remix LP Marumari’s “The Remixes” on Carpark from 2002. Just kidding, i’m sure none of you thought that. I always loved this remix, later in the song it reminds me if U2 asked Lusine to do a remix, but I feel the whistling high synth is a sample of an actual U2 song but I can’t put my finger on it, Mux Mool says it reminds him of Geto Boys – Damn It Feels Good To Be A Gangsta, I can hear that.
Tadd Mullinix aka Dabrye aka James T. Cotton aka SK-1 kicked off the Ghostly catalog in 2000 with his Dark IDM meets dark classical album called Winking Makes A Face. The beauty of this song in my opinion reveals itself starting at 2:23 and on, it has such good composition, when I just heard it I realized that the geniuses of this generation of composers should be making music like this.
Tom Croose turned me onto this John Selway song, it should be coming out on vinyl on Throne of Blood which is The Rapture’s label, its a nice deep cut that rides out all the way to the end nicely.
I have a list of 2009 Summer Jams, In my Top 25 Jamie Jones is climbing up that chart with his hit Summertime, should be out next month for any of you slow house vinyl junkies, it would be in the Top 10 but that breakdown is god awful, any wanna do an edit? please email it to me.
For the indie rock fans, sorry for the all electronic post today but The Decemberists will be on Colbert Report tonight so that should be good.
While Scott was in New York for F5 we got a chance to meet up with Tom Croose, Eliot Lipp, Mux Mool and head over to see Kode 9 and Flying Lotus play live at his new monthly in New York called Brainfeeder which is held at Club Love. I wish I could explain the energy and sound in that room and the heat too but maybe what’s best is if I post this live set of Flying Lotus from Plastic People so you can get a taste. The mix starts really becoming proper right around the 12 minute mark and on, if anyone has a track ID for the first song i’d greatly appreciate it because i’ve been pulling my hair out trying to find out.
Michigan’s Detroit House producer Rick Wade has worked with musician’s like Kenny Larkin and Theo Parrish over the years and the label Rush Hour has compiled a wonderfully detailed compact disc of some of his big hits. This all takes me back to some of the first vinyl I ever brought when I started DJing in 1997, just that faster disco house that i’d buy up at Melodies and Memories out in Detroit, MI. The tempo isn’t a trendy one and neither is the sound and that’s made me want to spotlight just this album alone, I hope you can find something special in this 70’s funk/disco style of midwestern house as I did.