Recorded at home, just a few tracks! Hope you guys like it. Will try to do more of this stuff in the close future.
Had to take the mix down, new one coming up!
1. Adam Lundberg – 24-10
2. Lerosa – Plesso / Ostgut Ton
3. Axel Boman – Purple Drank
4. … – Wire Dub
5. Red Snapper – Moving Mountain – Scuba Remix / Lo Rec.
6. ??? – The Other Three Days (A2) / Zooloft
7. DJ Rolando – Running / Saved Rec.
8. Fever Ray – Seven – Marcel Dettmann Remix
9. Ben Klock – Goodly Sin ft. Elif Biçer – Robert Hood Remix / Ostgut Ton
10. Levon Vincent – Late Night Jam / Ostgut Ton
11. Marcel Fengler – Chi Twine / Ostgut Ton
12. Wax – Dub Shed – STP Remix / SubSolo
As the first release featured unreleased tracks by Basic Soul Unit and Lerosa, the second sampler sees Levon Vincent and Steffi with previously unreleased tracks.
Making a lot with very few elements, Levon Vincent show us a more direct and even more pumping side of his productions. ‘Late Night Jam’ goes from straight up funk house groove into a more or less epic never ending piece. With the focus shifting from percussion with shuffled patterns, the melody goes from a powerful steady groove into an explosion of colours that Levon displayed at the Deconstruct Label Nacht previously this year – the track sums up the harder parts of that DJ set. Easily a candidate for the track of the year.
Steffi joins in with the track ’24 Hours’, which in some way showcases Steffi’s DJ style as well as a less building aspect of the resident DJ. A slow but very effective track that also have few elements to it, will probably fit very good into almost any set. The attempt is clear, but the result feels a little bit off somehow, it’s simple and easy going but lacks the attitude that would’ve lifted the track up. Nonetheless, it’s a good track that suits well as a B-side (although Shed’s unreleased track ‘Stiff Job’ would probably have suited better).
The second sampler is due at the same time as Panorama Bar 02.
From a very unexpected artist on a unexpected label, sees the release of one of the most straight forward house tracks this year. San Proper did a excellent 12″ on Raw Meat Records Inc. in June which was slower, more building and focused around the structures sourrounding the beat.
This time, ‘Keep It Raw’ goes from keeping an atmosphere of distinct influence to a very powerful track that combines all beat elements in a way that reminds me of Bernard Badie as well as Chez Damier in some sense. A vocal sample urge us to keep it raw, while the beat does it’s thing – that snare drum break through the rest of the beat in a way long forgotten.
With ‘December 10th’, the same roughness is there, only it’s more experimental and has a different groove to it. Weird Villalobos-like soundscapes that boil through the melody keeps the direction of the track intact, while it has enough progression to keep it interesting. Even though the attempt here is very nice, it’s still all about the A-side, where I’d rather see a remix of that track for the B-side.
Kicking, jacking and extremely fresh grooves marks the first sampler from the Panorama Bar 02 CD.
Basic Soul Unit from Canada delivers a really strong track with tripping melodies and mesmerizing funk; ‘Things Pass’ brings things from a lost time of house through the pipes of Panorama Bar and high emotion. The clear attitude and structure of the track is simple, but it also remains very unique with a touch of proper house – a combination that feels absolutely right coming from the Ostgut Ton. Lush claps fills the spectrum of ripping percussion and kicks, rising the bar that Levon Vincent put up a while ago. Not following the exact rough patterns as Levon, having a new style and fusing it with the current state of house with techno dirt, Basic Soul Unit delivers one of the best tracks this year.
Lerosa’s “Plesso” gives a hint of STL-vibe as well as being influenced of late night sessions, the track keeps calm during the entire duration, with smart and deep percussion circling the beat. Every time a track like this comes along, it always feels fresh. Without doing too much with all the elements, the intensity remains and the style is maintained.
The first part from Panorama Bar 02 is out in early October.
After Braiden played ‘Hyph Mngo’ at COLONY the same time I was there, I was really close to ask him “which track was that”.
A track that did not only felt great that night, but also felt like a new context in an old pattern, taking the anthem aspects of tracks such as ‘Nesrib’ by SIS or similar releases and putting them into the UK funky and dubstep current state. One question that might come up is if it has the longetivity of more subtle tracks that focus less on elements surrounding the beat structure, or if it will remain while those said subtle tracks will be forgotten. Nonetheless, a track of this caliber is always unexpected; it’s always appreciated.
‘Hyph Mngo’ feels like a really great house track, one of those that every time it comes on, you can’t stand or sit still – a definition of a classic. I won’t be surprised if it gets played by almost everyone that “dares” to shift up to British tempo, on the other hand, the international emotional content of the track makes it suitable for almost any venue or situation.
The focus shifts through the duration of the track; the energy is maintained throughout, but goes from melody to melody and getting acompanied by the chopped up vocal. The beat structure keeps the funk intact, being held up by traditional deep and heavy bass breaking through the 4/4 bars.
A track that will probably stand out for the rest of the year, if not for even longer.
With the anthem potential of the A-side, ‘Wet Look’ on the B-side cools things off in an excellent way. Fitting perfectly to the records atmosphere, Joy Orbison pushes the beat advancements even further by shifting the focus from a distinct bassline and precise melodies to more complex rhythms. The melody goes from one to the next, being maintained by stabbing yet reduced sounds that fills in the vocal in an excellent way. ‘Wet Look’ feels even more current than ‘Hyph Mngo’, which is both daring and at the same time exciting.
As Ostgut Ton approaches a very rough sound, Prosumer and Murat Tepeli (together with Elif Biçer’s voice) evolves in a direction with more emphasis on a calm, yet very powerful style in a way that at least I haven’t heard from them before. With the new Panorama Bar 02 mix CD getting released in mid October, Ostgut follow their own established pattern with a sound direction that fits very well towards the new mixed CD, this being the initial 12″ this time.
With both tracks being featured on the new mixed CD, the tracks seem to have established themselves with the Panorama Bar residents, which is always a good sign. Being tried at one of the best proving grounds for house, both ‘U & I’ as well as the B-side ‘The Jam’ seems to be just as good in retrospect as they are on at the initial release.
A record that in some way feels as it was meant for the summer comes out in September, as Ostgut pushed a very hard sound during this summer, it feels nice that they (maybe deliberately) switched places with rough techno and straight forward house.
‘U & I’ is more of an anthem than previous tracks by the two; the beat keeps a steady groove as the acidic elements and calm percussion swirls around the melody in a unexpected, but steady way. It does quite a lot with few elements, a way of production Prosumer has been pushing for a long time and is always welcomed.
The B-side, called ‘The Jam’, things gets a bit more punchy and a sense of higher tempo and direct feel. Strong rhythm percussion incorporates the ambient sounds in a quite haunting but pleasant way. A track made for Panorama Bar.
The future hasn’t felt as present than with this release from Roger Semsroth’s Skanfrom.
Picking up both a new direction and previous musical activites, sleeparchive has released a experimental noise 10″ on the sleeparchive label, as well as a extremely limited cassette(!) and a CD-R on an Hungarian label. As I’ve waited for another classic ZZZ release, Semsroth puts out this electro 7″ which makes me forget everything I was waiting for from him.
The extreme emotion and intensity of the first track brings out the best of futuristic visions, as well as bringing up memories of Blade Runner and pre-00′s nostalgia. The focus is on building and evolving melodies that combine each other in a very special way, making the track seem constant but at the same time going somewhere. The bassline is doing what it’s “supposed” to do, keeping it all in place.
The B-sides however follow the same pattern, but a more clear electro influence shines through, which feels like a fresh breeze (especially within the genre) – modern, sharp and self-distance tracks that feels like they all belong together.