![]() ![]() It’s still a dance set, full of muscular machine grooves and peppered with cuts from like-minded souls like Omar-S, whose 2022 drums-and-voice cut “ Can’t Explain” opens the proceedings on a ghostly note. Germany’s Kassem Mosse, a staple of vaunted lo-fi house label Workshop, has strayed into some pretty murky waters in recent years, and he drifts out to sea once more with this Truancy mix. Nowhere does that play out more unusually than when he finally drops that Cocteaus remix, about three-quarters of the way through, pairing Elizabeth Fraser’s dulcet voice with a juggernaut of a techno track. As tough as the grooves get, they’re almost always overlaid with dreamy, shimmering layers of synths this is music for moving to, but it also facilitates getting lost in your mind. Now Call Super says that they endeavored to build an entire set around Seefeel cofounder Mark Clifford’s 1995 remix of the Cocteau Twins’ “Violaine.” This mix for Taipei’s Pure G isn’t an ambient set, though: As always, Call Super delivers floor-centric cuts with an immersive pull, covering snapping bass music (Arkajo’s “ Tape 17”), slippery techno (Leigh Dickson’s 2002 cut “Praise,” divinely remixed by Baby Ford), and rugged breaks (Kasra V’s “ Voice Note to Self”). It feels like Cocteau Twins are having a minor moment in electronic music: Every month it seems like I hear a Cocteaus track slipped into an ambient mix, and then there’s Avalon Emerson, who cited the Scottish group’s ethereal sound as an influence on her own shift from techno to dream pop. Livwutang’s Impact set for Mixmag published the very next day, and while it leans toward heavier grooves, the selections and sequencing are just as inspired: When Suburban Knight’s vengeful 1998 track “ Maroon” segues into an obscure Luke Solomon joint from 2013, you can practically feel the tension slipping from your shoulders, while Swayzak’s classic “Speedboat” is a straight-up day-brightener. She covers plenty of ground-bass music, Japanese house, electro breaks-but it’s held together by gradual blends and a contemplative energy, even when it bangs. Her portion of the broadcast starts about nine minutes in, with gamelan-inflected techno and the eerie draw of Call Super and Julia Holter’s “Illumination,” before making a somehow completely seamless transition to a 30-year-old Sabres of Paradise remix. On July 3, New York DJ Livwutang contributed a breathtaking hour to Ben UFO’s Hessle Audio show on Rinse. It’s not every week that a DJ puts out two of the best mixes of the month in the span of just two days. Not many mixes are so carefully thought out-or skillfully put together. Despite its experimental framework, the set still bangs, snaking an entrancing path through grinding acid, flickering electro, drum’n’bass, and the deep house and melodic trance of its euphoric conclusion. That theme plays out in her style of mixing, using interludes and edited scraps-like Gil Scott-Heron’s “The Revolution Will Not Be Televised,” or a deconstructed snippet of Duran Duran’s “Save a Prayer”-to glue together seemingly unrelated tracks from Smerz and Moodymann. Subtitled “Music for Transformation,” the set nods to a period of life changes, including a move from NYC back to Detroit, for health reasons, and then to Taipei, where her parents are from. If her online persona amounts to a trail of breadcrumbs, she’s more forthcoming in this mix for New York’s Klarity Clinic series. It’s hard to find much information on the DJ known simply as Michigan she has played on the Lot Radio and seems to be part of a duo called usbtlety.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |