Voltarei a ter esse tempo, por enquanto tenho feito pequenas actualizações no facebook:

http://www.facebook.com/norte.magnetico

Até já.

Um dos meus artistas preferidos da dial regressa com um LP homenageando a cidade natal do house. Efdemin volta-nos a desafiar com a sua visão do deep house, com inúmeros elementos de outros géneros meticulosamente metidos ao barulho, prontos para serem digeridos em audições continuas.

Abaixo, parte do texto do Resident Advisor sobre o albúm e o clip (contendo imagens de arquitectura da cidade de Chicago) para a faixa There will be singing.

from RA:

[...]
In fact, if Efdemin was one of 2007′s most artfully crafted LPs, it’s hard not to hear Chicago as even more carefully structured and considered. It’s a work of almost symphonic presence, and one, quite frankly, from which it might be hard to tease an effective standalone single. Each track’s a minor phase or movement intimately linked with those around it. The twilight ease of the beautiful “Night Train”—with its slow, revolving shimmer—softening “Shoeshine”‘s midnight clatter. The spacious, waltzing organ melody of “Oh My God” bleeding into the pattering hand drums and muffled vocal sample of “There Will Be Singing”‘s soulful house. The cozy jazz of “Nothing Is Everything”—which sounds like Alice Coltrane crafting in house time—giving in to the heady throb and mesmerizing synth swirl of “Round Here.” The slippery, hypnotic chimes of “Wonderland (The Race for Space)” leave a downy space for the dim ambient hush of closer “Oh My God (Reprise).”

But a fair word of warning: that patience—the sense of a work offered in sum instead of the accumulation of its parts—can also lead Chicago to feel impenetrable. Those seeking immediacy may struggle to find points of entry against Sollmann’s tapestry approach. I’ve spent eight weeks now in its company, and I still find strange pockets of sound or rhythmic sidesteps that I’d failed to appreciate before: What sounds like a gasp of wind sampled within “Oh My God,” the slight industrial groan beneath “Wonderland (The Race for Space)” or the jazzy organ peals sewn into “Cowbell”‘s seams. Of course, these discoveries are precisely what makes Chicago such a headphone-lover’s delight. It’s full of sly corners, half-turns, sidewhows and, shit, even Bart Simpson samples. Perhaps Efdemin and Pantha du Prince are now doubly paired, both atop 2010.

Quando descobri o enorme Cassablanca – Mzo Bullet, e investi algum tempo a procurar o que se passava na África do Sul, pensei que o mundial seria o veículo ideal para à semelhança com o que se passou um pouco com o kuduro com musica electrónica mais tradicional, também este fenómeno localizado saísse cá para e tivesse a visibilidade que merece.

Ora bem, vindo directamente duma dica do ípsilon, descobri este LP, chamado Ayobaness, com um EP do mesmo nome já ca fora há uns meses, vamos lá a aproveitar o futebol e fazer a festa da electrónica mundial da África do sul.

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‘Ayoba’ is a catch phrase born in South Africa’s townships that is used to express excitement. Right now South Africa is excited and there are shouts of ‘Ayoba’ everywhere: in June and July millions of football fans worldwide will be turning their eyes on the rainbow nation for the 2010 FIFA World Cup. If you are looking for a soundtrack to the World Cup that captures the vibe of South Africa’s youth culture then look no further than ‘Ayobaness! – The Sound of South African House’, the first and ultimate introduction to the vibrant house music scene of South Africa featuring the latest club tunes, the biggest and most influential artists as well as names currently buzzing on the underground.

Think of house music and the first cities that come to mind are probably Chicago, Detroit, Miami, New York City … but right now possibly the most house music obsessed places in the world can be found in the cities of South Africa, such as Johannesburg and Durban.

South African DJs started playing Chicago house in the 80s and were selling mixes out of their car boots. By the time apartheid finally came to an end in 1994, the South African township youths had created their own club music called kwaito. In the early days, kwaito was not much more than slowed-down house beats overlain with raps in Zulu, Xhosa and broken township English. Soon kwaito became the soundtrack for celebrating a free South Africa and catalysed the rebirth of a new black entertainment industry.

Even throughout the kwaito boom, house music was always around. DJs started to fuse and produce their own local version adding uniquely South African sounds from kwaito vibes, Zulu Mbaqanga basslines to Hugh Masekela samples, and local house duos like Revolution or BOP were instant chart breakers. With the kwaito craze somewhat fading in recent years, house has again taken the lead as SA’s number 1 party music and the heartbeat of urban SA music. Today South Africa is the only country on the continent that has its unique local house culture. It is also the only country in Africa where kids dream of being a DJ or a producer – not a singer.

The most well-known artist on the compilation, known far beyond the suburb of Pretoria he hails from and South Africa as a whole, is of course DJ Mujava whose 2008 single “Township Funk” (released in the UK on Warp Records) became a global club anthem and as such first introduced many people to SA house.

The acclaimed DJ and producer is part of the huge rebirth of black culture that has been taking part in South Africa since the end of apartheid. He is one of the main players of this cultural revolution who have grown up with a love for house music and have since made it their own. ‘Ayobaness’ features “Mugwanti/ Sgwejegweje”, a new track by Mujava which has not been available in the UK before.

Also known internationally are DJ Cleo who has shaped SA urban music scene like nobody else (included is his hit song “Naisha Njalo”) and DJ Black Coffee whose project Afro-house vocal crew Shana is featured with the soulful tune “Iyo’Londaba”.

The title track is the smash hit “Ayobaness” by the “South African President of Youth Culture”, also known as “His royal Ayobaness”, Pastor Mbhobho, a somewhat crazy priest sporting a huge afro and wearing lots of bling bling.

Hidden gems include “Mexican Girl” by Aero Manyelo, a heavy bass track from Midrand Johannesburg, and “Kubi”, a mix of ghetto and disco sounds by DJ Steavy from Nelspruit. Straight from the townships of Jo’burg is Mgo whose track “Yes” was mixed by Hamburg-based production team Bongo Disco.

The compilation also shows that there is no homogenised SA house scene; there are pronounced differences especially when comparing the different cities. For instance, from the port city of Durban heavyweight L’Vovo Derrango, DJ Clock and Big Nuz showcase their take on house music.

From initially copying international house beats and mixing them with Shangan, Zulu or Xhosa township raps in early kwaito, house music has come full circle. It turned into a local culture that combines a love for long lost true African sounds, urban township culture and the latest international club trends. No place in Africa has such a close connection to the rest of the world alongside a rich African tradition. No wonder this explosive mix is attracting more and more DJs from all over the world.

In recent years there has been a growing interest in local music styles from around the world; while much of Western pop music seems stuck in endless recycling of its own history, local styles like favela funk, cumbia or kuduro have been making inroads globally. 2010 could well be the time for SA’s vibrant house music scene to shine.

Quase um mês desde o último post, regresso a esta pequena casa tentando por mão às novidades dos últimos dias e descobertas mais interessantes (e antigas).

A primeira que aproveitei para pegar, principalmente por ser de quem é, A guy called Gerald, membro dos míticos 808 State que recentemente voltei a redescobrir, depois de um momento fantástico aos comandos do Carl Craig e de uma faixa deles, durante o set de 5h no Lux.

Adiante, Gerald Simpson, seja nos 808 State ou em nome próprio sempre marcou a electrónica em várias vertentes (mas principalmente o acid house) e neste recente LP aproxima-se do techno de detroit, pelos caminhos do techno europeu actual (synths e escuridão melódica) e ao mesmo tempo mantendo um toque de acidez que sempre foi comum das suas produções.

Pessoalmente, acho-o interessante se bem que um pouco sem sabor, há faixas muito boas, há, mas no geral acabo por ficar com a impressão que havia espaço para alguém como Gerald inovar e empurrar o limite muito mais. Terei que investir um pouco mais a ver se me escapou qualquer coisa, infelizmente pode é não haver tempo e acabar a ficar por esta primeira impressão.

Recomendo aos que por cá lerem estas palavras, uma escuta ao álbum e deixem os vossos comentários.

Abaixo, o clip de ‘Flutter’:

Uma das melhores surpresas do ano passado, Applescal lança amanhã (19/04) o seu segundo LP na Traum, intitulado A Mishmash of Changing Moods.

Press release e preview integral do álbum (kompakt.fm)

Entrevista de Marc Houle da Minus à rádio Pulse.

Regressado da WMC em Miami, Marc discursa um pouco sobre o estado do minimal actualmente, tanto na WMC como na Alemanha, a produção de electrónica, últimos lançamentos e a Contakt Tour da Minus.

Diversidade. Há que gostar das coisas programáticas, esteticamente rigorosas, com uma austeridade quase dictatorial que faz com o que a emotividade e imagética que transparecem para fora serão  sempre limitadas por esses vectores. Do mesmo modo, o extremo oposto, da liberdade,  da expansividade sem limites, os cantos que não são cantos, dos quadrados redondos, do fluir sem programação têm também o seu espaço especial.

Quando os dois se misturam, temos um trabalho genial como este último de Caribou, intitulado ‘Swim‘. Vindo de alguém um doutoramento em Matemática, é difícil pensar que uma base tão estruturada de pensamento produzisse um álbum em que a primeira impressão que temos é o de um fluir tão despreocupado mas ao mesmo tempo tão rico e com uma pormenorização imensa que facilmente nos perdemos se tentarmos ouvir com uma atenção exagerada e não nos deixamos levar pela orgânica e fluidez do álbum.

Após as sucessivas vezes que o ouvi, comecei a interiorizar que a própria despreocupação, evolução e constante mutação em cada faixa é parte da preocupação principal de Caribou e a ponte com algo mais estruturado, se bem que essa imposição acaba sendo num extremo oposto de modo a fazer com que a música soe a tudo, menos algo feito por um ser humano. A complexidade de sons, tons, instrumentos, formas, barulhos, cores e texturas faz com que seja redutor tudo o que possa tentar elogiar neste trabalho, de cada vez que volto a ouvi-lo fico com a sensação que das outras vezes perdi-me noutros caminhos menores e agora é que é, como tinha sido da última vez.

O álbum pode ser escutado de borla e legalmente, no soundclound de Caribou.

Abaixo, o clip da faixa inicial Odessa e um mix especial feito por Caribou para o blog Allez Allez.

Nem de tudo o que é novo e reluzente se faz o que metemos pelos ouvidos abaixo, muito menos a um domingo a noite. Faixa fantástica do Totems Flare (2009) de Clark.

Charanjit Singh’s ‘Ten Ragas To A Disco Beat’ is quite easily one of the maddest records we’ve ever had in stock. It was originally made in 1982 by a Bollywood soundtrack composer, intending to capitalise on the disco phenomenon with a combination of centuries-old classical Indian Ragas set to a disco backing. To achieve this Charanjit used a prototypical acid set-up of Roland TB303 bass melody sequencer and TR808 drum computer together with a Jupiter-8 keyboard. He basically created a sound which mirrored, and more importantly, pre-dated the first acid house record – Phuture’s ‘Acid Track’ by five years, and even preceded Chip E’s ‘Jack Trax’ in 1985. It’s no throw-away novelty record either, instead capturing the hypnotic potential of acid music in the most ornate and scarily prescient fashion, making explicit the similarities of infinitely arpeggiated bass sequences and pure electronic pulses that would soundtrack dancefloors for the next 30 odd years. The more cynical among you will probably be thinking this is Ceephax or Aphex Twin delivering one of the most elaborate in-jokes of their career, but with the gatefold sleeve depicting the original sleeve and some in-depth liner notes from the label and Charanjit, our cynicism is waning in favour of absolute shock and awe. ‘Ten Ragas To A Disco Beat’ is vintage futurism of the highest calibre, and made all the more amazing by the fact it came from India, a place hardly renowned for its electronic output!

Escusado será dizer que Charanjit Singh estava muito à frente do seu tempo, e é uma pena que este disco tenha ficado 28 anos num estado tão refundido.

Acieed!

THOMAS FEHLMANN remains as one of the most endearing and respected artists on KOMPAKT. He has inspired generations of fans and musicians over the course of his 30+ year career. From his early days as part of the legendary band PALAIS SCHAUMBURG, and the pioneering Detroit/Berlin act 3MB (with JUAN ATKINS and MORITZ VON OSWALD), to his longstanding membership with THE ORB, combined with his contributions as a solo artist to esteemed imprints R&S, PLUG RESEARCH and of course KOMPAKT, where we have proudly released two full length solo albums: VISIONS OF BLAH (KOM CD 20/KOM 67) and HONIGPUMPE (KOM CD 59 / KOM 157), his musical works have been prolific, not to mention four singles and a full serving of tracks found on our POP AMBIENT and TOTAL collections. Now, after 3 years, FEHLMANN returns with GUTE LUFT…

GUTE LUFT is the result of months of work scoring the hit German TV film 24H BERLIN – the longest documentary film in history which featured 80 camera teams following the lives of Berliners over a 24 hour period. Obviously a huge challenge for FEHLMANN, beyond the scope of the project and hours of music involved in a 24 hour film, there was dealing with the decision making process that went with working with such a large production team. As he shared scoring duties with another musician (separately), inevitably a lot of his music ended up not making the final cut. GUTE LUFT is about re-tweaking and editing material from the countless hours of recording he had created. In a sense, GUTE LUFT is FEHLMANN’s ideal soundtrack to the 24H BERLIN documentary.

”While scoring the film and subsequently shaping it into a album, I found myself questioning what holds it all together in Berlin. I figured that ‘air’, the good old ‘Berliner Luft’, is something that is guaranteed to touch everyone and everything in the city. Also with that Berlin is very green, the combination with the unavoidable city dirt makes for a distinctive blend which seems to infuse its vibrant scene unknowingly with a constructive drive. Besides that, ‘Gute Luft’ was also the title of a song from my old band Palais Schaumburg, of which I have very fond memories. Also (as he says with a wink) “Gut” is one word I have a profound relation to…”

Fans shall rejoice as THOMAS FEHLMANN doesn’t veer far from his signature path of trailblazing the finer links of classic Detroit house and techno with the submerged beauty of Berlin dub. One will immediately recognize the classic scoring techniques FEHLMANN brings to GUTE LUFT – various themes and sounds resonate in various forms and versions throughout the tracks. As Thomas states, “There are also more subtle connections that should give an overall feel to the score. I also brought in elements from tunes from my previous albums in recognition of the fact that I often feel that there would be so many more ways to explore and experiment with certain ideas than just on a single track”. FEHLMANN clearly succeeds in synergizing the best of the past 20 years of Berlin’s expansive history of electronic and dance music with GUTE LUFT. A recreational album in every way in which he hopes will make you “feel at peace with you and your environment, inspire you to lush, imaginative dinners, make babies, or just walk your own way with open eyes”.

Para compensar os albuns que demoro imenso tempo a gostar e decidir comprar, existem alguns que no final de ouvir a segunda faixa já me deixaram completamente rendido. Gute Luft foi um destes, traduzido mais ou menos à letra para ‘bom ar/clima’  o antigo membro dos míticos ‘The Orb’ mostra-nos o resultado de um trabalho enorme ao efectuar a banda sonora para um documento de 1440 minutos (leia-se 24 horas). Não quero com isto dizer que o álbum é uma típica banda sonora, longe disso, não vi o documentário e fui capaz de projectar uma enormidade de cenários e espaços enquanto me perdia alegremente na música de Gute Luft em casa e durante uma viagem.

Peguem nos auscultadores e arranjem 1h do vosso dia para o escutar. Pessoalmente, diria para o ouvir calmamente e com atenção a todos os pormenores que irão encontrar, mas como som de fundo também parte dele irá atingir-vos e possivelmente convencer a voltar outras vezes.