Tuesday, June 9, 2009  12:05 am 

Pump up the jam motherfuckers

(Couple of visuals below by Tommy Boy)

Slow ‘n’ steady does it as Ali Renault demonstrates in his, as yet unreleased but hopefully soon to be pressed in most murderous vinyl ‘Dockland Dirt’. The Chicago edition of the Bible has long told us that you need to build your House on dirty foundations, and although I wouldn’t call this house, seen as it stomps casual down the discotheque at a languid tempo pushing citizens left and right like a gold-plated rhinoceros, I acknowledge that the word of the lord has been most dutifully applied and it shows, life after sundown doesn’t get much gnarlier than the ululating bassline underpinning the whole business, spread chopped up vocals, screeching saxophones, waterfront boogie synths and streetwise wah wah over this most nutritious whole sick bread and wait for all the crazy girls to climb on top of the speakers to push the roof up.

Ali Renault- Dockland Dirt

You like filter? I like filter! Like every other dance cliche to make the crowd rock, it eventually became a graveyard for reactionary producers once it was popularised by the new wave of French party gods. But perhaps it’s time to bring it back, or at least time for The Juan MacLean to mess with it with his usual blend of ‘throw shit against the wall because I am so awesome it sticks’ attitude and bizarro robotic sensibility. His remix of Codebreaker’s ‘Follow me’ does the filter, does the piano, and does the squelchy acid wiggle like you were playing five different tunes at the same time so the eternal watchmaker can demonstrate that if you pay enough attention to the physical cycles of nature, everything fits like the pieces of a rubik cube which is the party times equivalent of Hellraiser’s daemonic artifacts.

Codebreaker- Follow Me (The Juan MacLean remix)

Pre-order it here.

Dance music’s futuristic projection around the silver spires of metropolis as executed by those Underground Resistance Phil Dick obsessed cats are the output, but what about the process, sampling, borrowing, cutting up, fucking around and screwing up is what all the kids do today, and is what Mach did with On and On in 1980, incorporating (Discogs sez) bits off Munich Machine ‘Get On The Funk Train’, Lipps Inc ‘Funky Town’, Playback ‘Space Invaders’ and Donna Summer ‘Bad Girl to sort of invent house music. Funnily enough, this creative approach does nothing but bringing us back to the pre-major record label pre codified Intellectual Property Rights days of blues swamp & garage music. The other day I heard some  quote about how to be truly post-modern one has to become pre-modern, which is the kind of bollocks nonsense that people say to annoy me, yet it rightly applies here, and so does frazzled Marshall McLuhan’s case re: the global village and the future primitive initiated by total connectivity, analog into digital.

Mach- On and On

Did I forget to say it’s fucking banging? Check it deployed to soul-destroying effect by Rahaan after a power-cut at Bring the Heat’s first party (min. 5 or so). Pay attention kids, everything you need to know about dance music is laid bare in this video.

[youtube]http://www.youtube.com/watch?v=w9CVglCTDnU[/youtube]

labels >> Ali Renault, Codebreaker, Mach

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