Yes, we’ve joined the 700 club, folks. 700 posts of Jaxlore 2.0 (with even more posts considering our 20+ year history) and today we have a bumper edition of news, reviews, links, and music to get the weekend started as early as possible.
The above pic is of Oval’s groundbreaking ambient masterpiece ’94diskont’. While we were all high on Tortoise and The Sea And Cake and damn near anything coming out on Thrill Jockey combined with the far-past-nascent IDM movement, we were intrigued by this release, which the shopkeepers at Now Hear This! (a record store that ruled Jacksonville from 1992-1997) described as “sounds like skipping CDs”. We were hooked. I bought the LP+12″ and it has been in my collection ever since. Oval started out as a German electronic-pop act (the first album even has vocals; a foreshadowing of what groups like Sigur Ros would eventually release) and nothing they’ve released since touches this album.
My friends and I actually caught Markus Popp in Orlando in May 1998 as Oval opened for Tortoise. This was glitch before everyone grew beards and talked about how GD cool it was. Markus bored the hell out of everyone, sat beside a desktop (!) and moved his mouse around to everyone’s (un)delight. I don’t recall any applause because there were no “songs” but there was a merch table where I promptly snagged a white 7″ for the 1998 Tortoise tour and a shirt with the Putney on it (both of which I have today). One friend of mine (in an out-of-character, yay-fueled move) was ballsy enough to get their autographs on his 7″ copy, a mistake my then-shy self has never made since.
Now, the cognoscenti at Pitchfork have decided to rediscover this (never) lost classic in this piece which is actually well worth reading. Not dancecult.net worth reading but still very informative. Try to ignore all the paid freelancer thesaurus use and get to the meat of the matter, which is the 24-minute version of ‘Do While’, the album’s centerpiece.
Probably should have scored the above Pioneer RT-909 when I had the chance but everyone said I was crazy. “No one uses reel-to-reel anymore.” Turns out they do, smart guy….in droves. Reel-to-reel is headed for a big comeback and this article courtesy of The Verge, lays it all out for you, a quarter-inch at a time. Fascinating stuff…
Is club music only enjoyable at nightclubs? Although I think the short answer is ‘no’, Panda Bear has done a lot of weighing in on the topic as of late. I’ll be frank, I don’t really rate Panda Bear. He’s a drummer, rooted in rock, found EDM, and now based on the strength of his music (but more likely his management and agent) gets to tell us all when club music is enjoyable. If you’ve never read an article like this, I encourage you to check it out. You may not roll your eyes but, here’s a quick summary: the way club music sounds to an individual depends on so many factors (vibe, place, time, attitude, sound system, etc), that a thesis would need to be studied in order to encapsulate the entire subject. Panda Bear is not that scholar. Sneer at your own will…
Grace Jones is one of the select few in club music that can get away with saying just about anything and because people who weren’t around to hear how awful some of her output was between a few decent club tracks sprinkled in between dross will go on-and-on about how she was the gay icon, a pioneer, gay gay gay and not talk about the music (many of which were co-written, produced and remixed by others). I think Grace is great because she IS so unusual (let’s stay away from orientation and gender-identity, please) and uniqueness helped the club scene create it’s own identity (along with MANY other unmentioned artists – some no longer with us).
But really, has she made a bit of difference in clubland WITH HER MUSIC in 30 years (aside from 2008’s ‘Williams Blood’ which was only famous due to the Aeroplane rework)? No, she has not. However, she gets a free pass when she lays into the artists of today, as evidenced by this article and all of Joe Muggs’ Grace-gushing. And yes, there’s a Larry Levan reference (isn’t there always?).
For my money, I’ll stick with Paul Oakenfold & Steve Osbourne’s Grace project from 1993-1997. Single for single, they influenced a horde of ravers. Just listen to ‘Skin On Skin (Orange Mix)’ for fuxake. Grace’s vocals were top-notch AND Paul & Steve did it all. But… image over integrity, right?
I urge everyone to head over to the R&S Records website and check the latest smattering of videos for our viewing pleasure. Not only does the label (and its sublabels, Meda Fury and Apollo – which you can hear live tonight – more on that in a moment) come out with the most forward-thinking underground dance music in the world, their videos are something to behold. Hit the link, fix a cuppa tea and check these out…
If you haven’t been to the Boiler Room lately, check out some of the illest mixes on the scene today. Well worth your time…
Seoul has a vinyl library to make all of our mouths water. This feature is a true delight, courtesy of Vinyl Factory.
10/7: ArtWalk 78 tonight from 5-10 with the Ego Killer DJs and special guest Eddie B. behind the Laura Street Trio. We’ll have CDs, flyers for my new UNF radio show shows, the whole shebang!
Also, we’ll have a mix of old and absolutely brand-spanking-new vinyl to share with you all. Downtempo, electronic, EDM, house, techno, we got it. Join the crew, grab some grub from the food truxxx (we like the Fusion Truck ourselves) and get your generator fumes on! Just like the old rave days! Good times guaranteed.
NTOTD – Omid 16B – Heart Of Silenceby