JVA Autobahn is currently on limited release on Beatport to be released generally next week. It’s a totally amazing progressive house track. The word Autobahn had me shuddering at the thought of shitty Kraftwerk remixes, but no fear, this is ace. JVD is a Dutch chap apparently and Autobahn has been getting quite a lot of northern european DJ support.
I can only find the radio edit on Youtube so here’s samples on the Big and Dirty sit. From the samples I think that the PM mix is the one to download.
I like Ali Wilson, and normally I hate ‘tribal’ trance tracks involving ethnic sounds. But Pandora is an exception to my normally strict rule that anything tribal is shit. This is actually rather good.
On a more general blog note, I’m going to reduce my word count and increase my post rate, we’ll see how it goes.
It’s very very rare that a label releases a track with a commercially viable vocal version and a dancefloor friendly dub where both are actually reasonable tracks. You tend to get one or t’other. However in this case hats off to the people at Anjunabeats as they seem to have pulled it off reasonably well.
In terms of the commerically viable version I think that both the original and the Rank 1 version do the job nicely. I particularly like the snappy orchestrals in the Original. But I’m not here to write about tracks which chart or I’d have far more traffic and no soul.
The track which really gets me moist is the Ian Flux and Thomas Blofeld Dub mix. When I first heard this track the breakdown really reminds of Nitrous Oxide Morning Light, no shocks there they are on the same label. The Ian Flux and Thomas Bloefold mix has a dirty and driving bassline, which gives away to an amazingly euphoric and orchestral break, which starts with a plucked guitar sound gradually adding the orchestrals and effects before a slight pause wallops you into a big old arms-in-the-air break. My only slight criticism is the added crowd noise in the background at the end of the break. I think this record will elicit its own noise without having to sample it!
I’ve also just noticed that this the first time I’ve blogged a track before it’s three months old. Go me.
Tomcraft’s original was just the right side of cheesy and as a result has been a firm staple on the festival, club and horrid club-bar circuit for years so I’ve often wondered how a re-work of this track would end up. Actually I’m rather pleasantly surprised by both the Niels Van Gough and the Adam K & Soha’s Shadow remix
The former is a more proggy outing with a well filtered use of the vocal with an excellent bassline a minimal breakdown and is a really driving track
On balance I think the Adam K & Soha’s Shadow Remix has it for me, and I think this’ll be the one that gets the airplay. It’s a muchwarmer and more upbeat track suited to a mid-set prog or house set and would probably lift the bloody lid of a party. I’m a particular fan of the break in this track which builds to a wicked crescendo, in fact it keeps building for nearly two whole minutes.
One of the simplest, tranciest and most melodic tunes of the summer, but then again that’s what Anjunadeep does.
What got me about this track and caused me to buy it was a breakdown that would heat up any dancefloor. This track is a perfect mid-set pace changer, which throttled up a bit would work in a trance set perfectly. At 0% pitch this tune bubbles along perfectly in a progressive set. With a bass line which just lends itself to a club system this tune evokes summer vibes on the coldest of days.
Original mix
Vadim Soloviev remix – bugger me this is good.
Only after buying and playing the original a lot did I happen upon the B side. I have to say that this is the thing that the nubreed are going to miss on the most. Old vinyl junkies like me have discovered some of the best tunes in our boxes to be a B side or a double A that we woudln’t have bought at the time, but actually, a few months later, the freebie knocks the shit out of the original.
Well that’s how I feel about the Vadim Soloviev remix of Deep Orange. Okay the breakdown isn’t quite as simple or effective in my view, but other than that, this dirtier, bassier track ticks all the boxes. The intro to the track is melodic with a threatening hint of big beats to come, bassline kicks in at around the minute mark and it’s hold on to your hats time.
A great DJ tool of a track thanks to the intro, I’m a big fan.
A track that’s so like an Underworld track I fully expect to hear Karl Hyde shout something over the top of of it. It’s been knocking around since May getting lots of dancefloor play from the big prog DJ’s and whenever I listen to it I’m transported back to 1999. This is no bad thing, with excellent tight production, this track is completely up to date, especially with the thoroughly modern, and bang-on prog mid range, it just warms your heart on a cold autumn morning.
What really gets me tingling is the choral stab, which just reminds me of Dark Train, by Underworld.
Despite it’s simplicity don’t underestimate the love that’s gone into this track, the production is excellent, and there’s nothing in there for the sake of it, every sample, sound and tweak is there for a reason, and that’s to build atmosphere. I’ve been aware of, but never really closely followed 16 Bit Lolitas, but I’m going to watch them more closely now.
This is a simple, no nonsense record, but my god it’s good.
I’ve always been huge underworld fan, espeically the lyrics of Karl Hyde. I’ve heard some people put Karl’s lyrics in the same bracket of those of Faithless vocalist Maxi Jazz. This is criticism too far for me. I’ve always found Hyde’s lyrics to be haunting and his energy on stage was unquestionable. Maxi Jazz on the other hand is a just a bad rapper in my view, and with the exception of a few tracks I’m not really a fan although Faithless have knocked out some great tunes.
I’m characteristically behind the curve wriitng about ‘Downpipe’ several months after release, but it’s a been real grower for me. It’s at the techier end of tech house for me, and it wasn’t until I got mixing the track that I really decided I liked it.
This great track from the excellent Way Out West has been out for a while now and it’s the first single on the We Love Machine Album to get a release. The Album came out on the 5th of October and it’s yet to make the album chart though I hope it will.
I was lucky enough to see Nick Warren play this tune at The Gallery MOS, and there’s a cool video of the event too courtesy of Internet DJ.
The tune has a really great warm housey feel to it. Lovely cowbell type sounds, great string snaps and a cute vocal. I’d heard the tune several times before it really grew on me. As you’d expect from Way Out West the production’s as tight as can be and there are no un-necessary elements, everything in there adds to the track.
I think Only Love is a great mid set house or progressive candidate and it sure rocked the MOS when I heard it played there.
Although the original is excellent I have to confess I’m more of a fan of the John Tejada vocal mix. It has more of a tech house feel to it, does some very cool filtering in of the mid range which is very reminiscent of an old school mid 90′s tweaky 303 techno tune which clearly appeals to me. I think the Tejada mix has a lot more going on despite it’s stripped down construction, and I can see it working really well on a slightly harder dancefloor.