What do you do when you’re an attorney who doesn’t have much to do during the COVID-19 pandemic lockdown? If you’re Douglas Richards, you go back to doing what you did before you became an attorney – being a rave DJ and making the Project 85 EP.
The first track, “Everyone Has Their Own Reasons,” is a tale of one of Richards’ friends experimenting with DMT, using his friend’s own telling of the tale for the vocals and stacking them with hot 303 beats and bouncing bass.
“I’m Here for You,” using more of the same conversation for more vocals, becomes a robotic techno ripper that bumps and thumps in all the right places. “I Move with Intention” has some retro vibes, sounding not unlike an early 1980s disco cut that you’ve been digging in crates to find for the last thirty years.
Richards is about to blow the doors off dance clubs across the world if he keeps up with stuff like this. Don’t miss out.
Today, Bodysync return with the euphoric rave-pop single “Bailiar (I Want To Dance),” featuring the beloved Honduran-Canadian singer-songwriter Daniela Andrade. The final single ahead of their second album, NUTTY, set to drop next Friday, June 28, via Buddies Inc, pushes the tempo with energetic piano chords and Andrade’s soft-spoken, ethereal voice controlling the melody. “Daniela is one of our favorite artists to work with. She never overwrites and seems to instinctively know how much a track needs,” Bodysync remarked on their second collaboration with Andrade. Following previous singles “Rock It” and “Babies,” the latest offering from the new electronic producer duo of Ryan Hemsworth and Charlie Yin (AKA Giraffage) continues to build anticipation for their second full-length, which has already garnered attention from CBC, Exclaim!, Paste, Stereogum, Uproxx, and many more.
The record features twelve new belters, rooted in 90’s rave music but embracing all shades of dance music, alongside indie, and pop punk influences. Bodysync is Ryan Hemsworth and Charlie Yin (AKA Giraffage), and this project has been their core focus since their well-received debut album Radio Active was released in 2022. In their own words – “it’s dance music by fans of DIY punk and Y2K pop, with a healthy dose of absurdity.” Previous Bodysync collaborations include Tinashe, Devin Morrison, Dazy, and Nite Jewel. As individual producers, Ryan & Charlie have worked with the likes of Joji, Japanese Breakfast, Mitski, E-40, Doss, alongside official remixes for Carly Rae Jepsen, Porter Robinson, ODESZA, and Lana Del Rey. Giving more context on the album, Bodysync share: “Keeping things a little nutty has just been like, the mantra. The discourse in electronic music is so enveloping and polarising. We just choose to focus on our legends – Todd Terry, Paul Johnson. There’s so much comedy in their stuff and that has really resonated lately, which shamelessly gets mixed up with the stuff we enjoyed at a young age – Venga Boys, Daft Punk, and Mad Magazine.“
A fitting acronym for Bodysync could be “Be Open, Do You, Say You’ll Never Change” – it’s for everyone, all ages, no gatekeeping. It has that optimistic feel-good energy that was felt at the free party movement in the UK, and the desert parties in the US decades ago. The universal language of music remains the same – bring the people together, it’s best experienced communally.
Listen to “Bailiar (I Want To Dance)” above and look out for the full album release of NUTTY on Friday, June 28th, and details for a North American tour kicking off in August.
It’s not every day you put out a groovy EP of acid house tracks. This is especially true after one of your band members falls over twenty feet through a skylight, breaks both wrists and six ribs, and sustains a head fracture that results in permanent hearing loss.
Yet, Operator Music Band did just that with their new Four Singles EP. How? You got me, but Jared Hiller figured out a way, and, along with Dara Hirsch and Daniel Siles, crafted a slick record.
Blending house with some krautrock and synthwave, “As It Goes” comes out of the start with a drippy, bass-filled bang, wicked hand percussion, and low-end vocal effects to warp your brain even further. “Screwhead” is a sexy, slightly industrial (Those drums!) track with sensuous vocals (“Focus is a function of ecstasy. Let me go slow. I’ll be right back.”).
“Oval” is bouncy and bubbly that, at the halfway point, turns into almost a dance-punk track with its almost frantic drums. “10 Days” continues this dance-punk theme with percussion and synths that sound like they’re coming through pipes and pneumatic tubes in an abandoned factory where a rooftop rave is taking place.
It’s all over too soon and leaves you wanting much more, as any good EP should. Many accolades should be given to Operator Music Band for creating something this good after Hiller’s harrowing accident. That kind of grit is rare.
Starting with Glasgow’s Stevie Cox and “Sandalphon,” the album gets off to a smooth, trippy start with slight synthwave touches easily mixing with house beats. Kyoto, Japan’s Stones Taro‘s “Iron Door” is great for your workout playlist. It bumps and thumps at a great beat for aerobics, running, biking, and, of course, dancing in a dark club surrounded by sweaty people probably tripping balls at the time.
DAWS (Australia) brings in some old school house (complete with soulful disco vocal loops) on “Early Desire,” whereas Gallegos brings old school scratching and retro-electronic beats on “Once More One More.” It’s a track you don’t want to end because it gets better with each passing second.
emkay‘s “One Kiss Wonder” is a slick trance track that could slide right into a compilation you found in the mid-1990s on a merch table at a rave in an old high school gym. Body Clinic (Northern Ireland) finishes off the compilation with beautifully futuristic rave cut “159 Revolutions Per Minute” – which mixes synths with thumping electro-beats and sexy pleasure-bot sounds.
It’s all killer, no filler. Don’t miss this, and the money you spend on it goes to a good cause. What’s not to like?
I discovered Pelada when they were a last-minute addition to the 2022 Levitation France music festival. They closed one of the stages with a powerful performance of dance-punk ragers that had everyone jumping. I didn’t know anything else about them at the time, so I started looking.
Fast forward a couple years later, and here I am finally getting around to reviewing their excellent 2019 album Movimiento Para Cambio (Movement for Change). The album’s title is pretty much the band’s mission statement – making people get off their asses to demand change in the world and make needed changes in ourselves.
“A Mí Me Juzgan Por Ser Mujer” (“I Am Judged Because I’m a Woman”) blends Tobias Rochman‘s house beats with Chris Vargas‘ lyrical kick in the crotch to “bro culture,” toxic masculinity, and the maddening expectations put on women across the world. “Ajetreo” (“Hustle”) will have you doing just that on the dance floor, as it sounds like Rochman and Vargas plucked it from a Barcelona rave club in 1993.
“Habla Tu Verdad” (“Speak Your Truth”) has Vargas encouraging victims of sexual harassment to tell their stories and push back against such treatment. Rochman’s house beats and synths on it are a great contrast to Vargas’ snarling rage. The beats turn into slightly industrial bloops, bleeps, and buzzes – mixed with killer synth-bass – on “Asegura” (“Secure”), which tackles the pervading menace of technology and surveillance.
It can’t be a coincidence that “Granadilla” (“Passion Fruit”) is the sexiest song on the album. The beats are made for making out, and Vargas’ voice curls like honey being poured into hot tea. “Caderona” (“Big Hips”) adds some slight robot-like distortion to some of Vargas’ vocals in a song about staring right back at the male gaze as the dude gets more and more uncomfortable. “Desatado” (“Untied”) will make you race to the dance floor, free of attachments, expectations, and limitations – which is the point Pelada has been making for the entire album. Rochman’s synths on ‘”Perra” (“Bitch”) become sharp and jagged while Vargas’ vocals soften in presentation, but not in fury. A message in the liner notes of the album is “Open your eyes. The beast feeds on exploitation.” This is especially noted on “Aquí,” which is about the rising power of global corporations.
Pelada’s name translates as “Peeling” – another call to strip away labels, expectations, and hindrances put upon us. This whole album does that and makes you dance at the same time. Dance-punk isn’t easy to make, and many times it comes off as either trite or trying too hard to make a point. Movimiento Para Cambio hits the sweet spot on every track.
House and techno music were in a weird spot as the 1990s were ending and a new century was beginning. People had been raving away through the nights and early mornings of the 1990s in anticipation of living in a future that would, of course, never truly arrive. How would techno evolve in this new world / era?
Green Velvet had a pretty good idea how: Mix a bit of industrial music with trance and house, don’t skimp on the partying, and take the new century as it comes, baby. He released the perfectly titled Whatever just as the new millennium launched, summing up everyone’s attitude after the spectre of the Y2K apocalypse turned out to be a Scooby-Doo-style faker.
Opening track “Genedefekt” is almost like the opening theme of a video game with its 16-bit bleeps, but the thumping bass and machine drums elevate to something with a bit of menace – not unlike how a lot of people envisioned the next century as it arrived. That arrival, and not knowing what was coming next, is summed up in GV’s big hit, “La La Land.” The catchy bass and gets in your head and won’t escape as GV sings, “I’ve been the one to party until the end. Looking for the after-party to begin.” Like a lot of us, GV was there dancing until the end of the previous century and hoping the next one would be an even better after-party.
Also like a lot of us, GV was wondering if he should reinvent himself, and even how to do so, in the new millennium. “Stranj” has him singing, “For the first time I’m starting to realize I need to come down from this high, and be that person my family wants me to be – a model citizen of society.” GV calls out people who try to sabotage his dreams, racists, haters, and people living in fear on “When?”, and gives them rapid, energetic beats to shake them out of their brain fog.
“Sleepwalking” is a salute to “the weird ones” (“not the cool kids”) who find solace in the night and self-harm. GV hopes they’ll realize “Hatin’ themselves doesn’t make them happy.” “Stop Lyin'” is, as the kids call it, a banger – and a classic one at that. The near-goth synth-bass is outstanding, and the industrial beats would do Nitzer Ebb proud…as would the following near-instrumental track, “Minimum Rage,” with its alarm clock sounds, throbbing beats, and sampled crowd chants. It instantly brings to mind visions of people in black rubber shirts dancing under strobe lighting.
“GAT (The Great American Tragedy)” has GV screaming “Do what you like if you feel right!” by the end of it. It’s a panicked, wild track boiling with anger at being told what to do from every angle all the time. “Waitin’ 4 the Day2End” is a slice of GV’s life as he goes down to the corner diner and starts his own daily grind…along with everyone else around him from the guy next to him, the “old friend hooked on heroin,” and a party promoter who appears to be in a lot of trouble. The album ends with “Dank” – a snapping, double-dutch beat song about smoking weed that turns into a bumping floor-filler just when you think it’s finished.
That’s how Green Velvet was going into the new millennium – reflective, angry, high, and aching to get the rest of us off our assess to create the future we wanted in the here and now.
Operator Music Band — the Brooklyn-based project made up of Dara Hirsch, Jared Hiller, and Daniel Siles — announces the EPFour Singles. The project showcases the band’s thrilling foray into acid-tinged dance music, slated for release on March 22 via Deep Break Records.
While working on this batch of tracks with producers Mike Bloom (XL) and Noah Prebish (Psymon Spine), Hiller suffered a life-threatening accident. He was sent plummeting over 20 feet through a warehouse skylight—directly into Rough Trade’s warehouse, no less. This led to Operator Music Band postponing material, while Hiller recovered from significant physical trauma: two broken wrists, six broken ribs, and facial fractures that resulted in permanent hearing loss. Now, mostly healed and rejuvenated, the live-electronic trio are ready to resume releasing music, starting with the new single “As It Goes.” It’s accompanied by a music video, premiering via BrooklynVegan. Shot and edited by Hiller, the visual compiles footage surrounding his recovery, featuring friends and collaborators in candid moments captured with an observational charm.
Originally emerging in the mid-2010s as part of a wave of talk-singing, “krautish” rock acts, Brooklyn-based Operator Music Band’s existence has been marked by highs and lows. Formed around the partnership of Dara Hirsch and Jared Hiller, who are joined by a rotating cast of musicians — which currently includes percussionist and longtime collaborator Daniel Siles — Operator Music Band has put out two LPs, three EPs, and a handful of singles that merge krautrock, art-pop and occasional post-punk sensibilities. Actively releasing and touring between 2015 and 2019, the simultaneous failed launch of the 2019 full-length Duo Duo (which resulted in legal intervention that forced the dissolution of the label involved) and the cancellation of extensive tour dates due to pandemic lockdowns, left the band in a place questioning the longevity of their existence.
Through working on side projects and remixes, Hirsch (aka datadata) found new inspiration in house music, challenging herself to learn to DJ and mix. The cathartic experience of the club offered an alternative to what seemed like the decaying local indie rock scene. “So much of the infrastructure that we had been a part of over the past years was no longer there,” says Hiller. What remained “no longer felt like us,” Hirsch reflects. These bittersweet, yet honest realizations pushed Operator Music Band to craft four dancefloor-ready tracks, each accompanied by a remix from a respected producer or DJ from the club scene: Doctor Jeep, D.D. Curry, Toribio, and Gabe Gurnsey (of Factory Floor).
Commenting on Four Singles as a whole, Hirsch offered: “For me, this collection of songs is about discovering music as play. There was a very long time in this band where so much of what we were doing felt like work. Satisfying and worthwhile, but ultimately work. Now, we feel like we have so much more room – feeling free to create and play without a specific goal. We can do things on our own terms.”
Keep your mind open.
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While many of his contemporaries in Japan were focusing on drum and bass and underground EDM, Paperkraft decided he was going to focus on progressive house and strive to bring it back into popularity. He’s off to a good start with his Not C but K EP.
“The Amazing Spaceman” blasts us into orbit and begs to be cranked while you’re doing a spacewalk outside the International Space Station. It will make the job of fixing that solar array go much quicker as you tap your toes inside their insulated boots to the syrupy bass and zero-gravity synths.
“Dizzy Disk” could refer to a UFO or whatever Paperkraft is spinning on his decks. It has a fun 1990s rave flair to it with the vocal sample loops and party-inducing bass riffs. Aiden Francis‘ remix of it is a nice addition.
“OK Corral” is a for-sure floor-filler. Again, Paperkraft uses vocal samples and loops to great effect and has you moving no matter where you are. Be careful with where you hear this, you might start dancing in the middle of a bus station or any other place. Aldonna‘s remix turns it into a bit of a trance track.
The EP closes with “Stella” – which is chock-full of processed drums, kitten-sneeze cymbals, and chonky cat bass lines.
The whole thing is a blast. Get in on it now!
Keep your mind open.
[Zip over to the subscription box while you’re here.]
I picked up this delightful three-disc house music compilation at Reckless Records in London last year for a mere two pounds. As the cover reads, it’s forty-five tracks. You could just put any of these into a DJ set and walk away for a little while.
Each of the discs has plenty of outstanding tracks on it. Disc One, for example, has a lovely mix of Ron Hall and The Muthafunkaz‘ “The Way You Love Me” with Marc Evans on vocals. Paul Johnson‘s “Get Get Down” is a lot of fun. Kathy Brown‘s “Don’t Give Up” is pure house bliss, as is the ’98 mix of Maw‘s “To Be in Love.” Soulsearcher‘s “Can’t Get Enough” is a house classic and not to be missed.
Disco Two starts off with six straight bangers: Bob Sinclair‘s “I Feel for You,” Powerhouse‘s “What You Need,” A.T.F.C.‘s “Bad Habit,” Sandy Rivera‘s ” I Can’t Stop,” and Knee Deep‘s “Good for Da Hole” and “I”ll Be There For You.” Soul Rebels‘ “I’ll Be Good,” with the great Lisa Millet on vocals, is a for-sure floor-filler.
Disc Three gets thumping right away with Junior Jack‘s “Stupidisco.” “Believe” by Ministers De La Funk (with Jocelyn Brown on vocals) brings a bit of gospel flair to the mix, which is always welcome in house music. M‘s “So Fly” is killer, full of fun raps and retro video game bleeps backed with a solid dance beat. Timmy Vegas & Andy Daniell‘s “Disco Shit” is the shit. The early 90’s rave vibe of it is top-notch. Martin Solveig‘s “Rocking Music” gets your attention and doesn’t let go of it. Mood II Swing‘s “Can’t Get Away” is a good example of a house music staple – songs about how you sometimes can’t quit love that’s great in some ways but bad in others.
This compilation is well worth finding if you can.
Bubbling beneath the surface of Japan’s emerging underground scenes, Osaka based artist Paperkraft has passionately developed his craft, immersing himself in the culture and championing a new wave of Japanese artists. With the rise of genres like UKG & bass in neighboring cities like Kyoto – it’s the progressive and house movement Paperkraft is concerned about. Although more niche in his native city, developing a sustainable scene and championing the sounds he loves is the ultimate goal.
“UK Garage and other types of bass music music are thriving in Japan. I think the number of DJs of the younger generation has also increased.On the other hand, modern progressive house and liquid house music is a smaller scene. At least, no one around me is making similar music, so I would be happy if I could help bring some of it to Japan.”
First introduced to HOMAGE through friend and breakthrough producer Stones Taro, Paperkraft referenced releases like Aldonna’s Morph EP as the catalyst to send his demos, and who subsequently remixed ‘OK Corral’ on his forthcoming EP Not C But K.
Breakthrough tracks’ like Papekrafts’ ‘Dimple’ which was released by HearThug’sAre You Alien label gathered large support, and made a special appearance on Manami’s Boiler Room Debut; laying the foundations for tracks like ‘OK Corral’ to take shape. The infectious vocal sample coupled with jam-like riffs give off the vibe that it was done in one take in an act of pure enthusiasm, with that same energy lending itself to the dancefloor. Aldonna’s remix adds a balearic and emotive touch, while tracks like ‘Stella’ use a left leaning approach, perfect for low capacity clubs and sweaty, dimly-lighted rooms. Aiden Francis lends his signature sound to the remix of ‘Dizzy Disks’, with elements of breakbeat, trance and electro, showing why labels and clubgoers rate him so highly.
