Articles tagged with acid

Top 10 for 2014 – Ladycréme

December 31

2014 was a great year for house, so here’s a mix of 10 of our favorites. And keep an eye out for a YDH2S podcast coming atcha in 2015…

Top Ten 2014 by Ladycreme on Mixcloud

duke dumont – won’t look back (extended mix)

jessie ware – say you love me (gorgon city remix)

the subs ft. colonel abrams – trapped (acid jacks dance cult remix)

kiesza – hideaway (gorgon city remix

aden – whip (jimmy edgar remix)

odysseus – done to me

black loops – the lovelite

hercules & love affair – do you feel the same? (oliver dollar remix)

boot & trax – confuzed house

julio bashmore – simple love

August 25

It’s Get Strange week at YDH2S.  The bar is set high because every DJ likes to think they have the craziest stuff and well, some of my fellow YDH2S DJs have turned in some killer oddness.  But I think I have something to out freak their freakiest beats.  

Coming from the fashion world of late 70s Germany, Patrick D. Martin embarked on a music career, birthing one oddball EP and a few 7”s of eccentric new wave, punk and disco, before moving on to video art.  He perfectly encapsulates everything that I love about that time period — musical mongrelism, international cross-pollination, a bit of robo-futurism, and implied sexual and cultural deviance.  It’s Devo and Nina Hagen with a bit of Moroder and Bowie and whatever else was lying around.

It’s hard for me to pick a favorite, and that doesn’t imply that all Martin’s songs were good.  They’re just all… interesting.  Most of them aren’t likely to set off a dance floor, but all will get you some strange looks.  These are the songs DJs play for other DJs — the ones you put on a mix tape to test how cool someone is.  

Luci ‘Lectric might be the go to jam for most people.  It has a slapped baseline and other obvious disco-isms under an ode to the dark prince himself, Lucifer.  It’s not quite wild enough for my tastes.  Don’t get me wrong, it’s probably still too weird for most sets and the bridge has an awesome springy robot laser battle.

However, compared to Martin’s other offerings it kind of pails.  ?, (Question Mark), is an all-out space war with a bass burble that may have inspired Cosmic Cars.  If that’s true, then this track may be the blue print for techno.  As cool as that is, the song gets smothered in ridiculous saxophone that hasn’t stood the test of time.  If that weren’t bad enough, it goes sort of piano house at the end.  I mean doing techno and piano house on a record in 1979 is sort of incredible, but I can’t say that it sounds good.

Luci ‘Lectric’s B-side, Mutant sounds like the B-52s on PCP.  It’s all slinky cowboy guitar, discordant riffiage, sound effects and Martin ranting in his best Bela Lugosi impression.  Three minutes in, the bridge happens and the entire song dissolves only to rise again zombie like.  It’s astounding how many ideas this guy can pack into four minutes.

Martin has a few more “hits” in his arsenal, but for my taste, the one to go with is “I Like ‘Lectric Motors”.  It’s basically screaming guitar, Martin rapping in his english accent over a pulsing arpeggiator.  At times the frequency opens up and the synth gets a bit acidy.  This one is actually pretty danceable and even had a video.  Drop it if you’re feeling brave!

-Dope Werewolf

Blawan – "What You Do With What You Have"

June 23

Blawan – What You Do With What You Have

Blawan aka Jamie Roberts is  a producer from Sheffield, UK.  Last year he released a slew of  dark, weird techno tracks, all of which were good.  It’s hard to pick a favorite, but What You Do With What You Have is probably my go to track.  It’s got a vocal hook that’ll keep non-dance music crowds on the floor and it’s not as atmospheric or IDM-y as some of his others, Shader or Iddy for instance.

The pitched-down witness protection program vocals recall Bam Bam’s Where’s Your Child.  A slab of sickly acid goodness, it’s is the type of record that instantly sets the dance floor bouncing.  Creepy and druggy, it’ll make you feel good and bad at the same time.  You can almost smell angel dust in the air.  This one turns any party into a badly lit 3am warehouse jump-off.  remember, It ain’t what you do, it’s how you do it.

-Dope Werewolf

June 1

Japanese singer Nokko had a big career in Japan with her group “Rebecca”, which we can only assume sounds like a really cool American name to Japanese people and has nothing to do with the 30’s gothic romance novel.  At their worst, Rebecca sounded like the Anime version of 80’s pop melodrama, think Europe or Cutting Crew.  At their best, they were something like a mix of Italo Disco and Miami Sound Machine and yes, that is about as cool as you would think it would be.

I Will Catch U is the title track off Nokko’s 2nd solo effort.  It would have never hit my radar, except the 12” credits production to Towa Tei of Deee-Lite fame and more importantly, it features the words “Acid Bonus”.   I can only wonder why the acid mix was a bonus at all.  To me, it’s the only listenable track on the record.

The original album version of I Will Catch U is a piano-house lounge affair complete with flute solos.  It’s the sort of thing that people who hate house music are thinking of, when they think of how much they hate house music.  In fact, it even makes me hate house music.  It’s music that stripy-shirt banker types listen to while getting girl-drink drunk at neon-lit bars in hell.  You don’t dance to this, you sip around little umbrellas before ponying up with your Amex Centurion Card.

But the DJ EFX‘s Tribal Acid Bonus is from a totally different world.  It tosses out the baby and most of the bathwater, keeping only the original’s catchy stuttering vocal hook.  In place of the original instrumental, it adds pounding, yep you guessed it, “Tribal” drums.  Vocal snippets and lovely percussion alone carry the first minute and a half.  Then the acid line drops.  It’s a 303 that makes you weak in the knees.  I imagine scores of ravers rushing back from the bathroom to find their friends.  It’s a testament to the power of a few good ideas.  Just drums, vocals and an expertly tweaked frequency cut-off.  Less is more, pass the glow sticks.

-Dope Werewolf

March 14

I’m here in Austin, TX for SxSW, so it seemed like a good idea to write about something related, since I am here. After one day of music, the highlight has been Austin’s own Bodytronix.

For the most part, Bodytronix does not seem to release recordings of their music, other than in a live form. You see them live, or listen to a recording of a performance, or you never hear them at all. There are two guys in the band, but the amount of electronics on stage dwarfs them. The mass of cords alone could probably be a stand in band member, as I documented here last night.

The music is whirling vortex of acid house, odd samples, 80’s low-budget horror soundtrack sounds, blaring vocoders and early Detroit-era techno sounds. The crowd here in Austin, young types who look like they’d be more interested in dancing to Siouxsie Sioux or Crass, immediately began to gyrate as the set started, and within minutes a full-on dance party was going on below the stage. It would careen between ebb and flow as the songs devolved into cacophonies of squelches and reformed into a massive, thrumming beast of acid sounds.

Here’s a 50 minute live set of theirs, which you can also download. It will take some time to get into the meat of it, it’s not for everyone, and it’s nothing like seeing them live. I recommend you all heed my advice and if they play a live show in your town, make an effort to catch them.

// Brian Blackout