Category Archives: Feature

Some Like It Hot, Karl – January 2016

At Human Drizzle, we attempt to bring you our favourite musical finds. In almost all cases, these are tracks that we find on SoundCloud, YouTube, Mixcloud or any other file sharing or streaming service. And we love all of the tracks that we post here, or compile in our playlists.

However, it’s one thing to click ‘like’ when a band or producer posts a link to a new track, and it’s quite another to actively seek out and purchase a song. So, we thought it would be a good idea to take a look at some music which is so good that one listener was compelled to part ways with their hard-earned cash. Our resident DJ, Hot Karl, has been stockpiling records like they’re going out of fashion for some time now. Here we look at ten of our favourite additions to his collection, from the last month, in the hope of sharing some slightly different music with you.

Kicking us off is Dutch producer Junktion, who makes up one half of the excellent deep-disco duo, Fouk. ‘Pale Blue Dot’, a woozy house track with a thumping beat, was released last summer.

Junktion also released on the outstanding ‘Diggin’ Deep Disco #2′ compilation. ‘Sidewalk Salsa’ is another slice of smooth, funky house.

The end of the year ‘top tracks’ list is now a fixture in any music publication’s calendar (you can revisit ours here). Resident Advisor’s tracks of the year rundown is always hotly debated. It is, also, a superb resource for acquainting yourself with tracks that you might have missed in the preceding 12 months. Even better, the arguments in the comments section throw up many more gems. Nods to ‘Cassandra‘ by Donato Dozzy, ‘Carmine‘ by Fit Siegel and the excellent ‘Marine Drive‘ by Florist, all of which could have made it – properly – into this article.

As ever with RA nowadays, Hamburg label Giegling were part of the end-of-year list in most categories. Map.Ache’s ‘The Golden Age’ is a beautiful, slow-burning piece of up-tempo deep house. It brings a smile to our faces every time we hear it, and we can’t wait for the Giegling showcase at Village Underground next month.

No Human Drizzle piece would feel complete without mention of Fort Romeau. We’ve already waxed lyrical about ‘Secret’s & Lies’, but it’s ‘K.O.N.T.R.O.L’ that we want to bring to your attention now. It came out last year and only dropped on our radar thanks to Tim Sweeney’s end-of-year, best of 2015 Beats in Space mix, which is well worth a listen.

Another HD fave, Lorca, has also been in fine form. ‘Creta Kano’ is the a-side of a two-track release on Breach’s Naked Naked Records.

The ‘alt version‘ is great too. Lorca is of course playing alongside Mr Beatnick as part of a Brighton-infused line-up for Human Drizzle Presents on Friday 26 February at Basing House.

This being an article about vinyl, we’re not restricted to talking about the latest releases. This is a good thing, because until this month we had never truly appreciated the amazing Galcher Lustwerk.

As smug as we are to be going to the Giegling night, we are gutted to be missing Galcher Lustwerk the very same evening at Dance Tunnel.

Other notable additions to Karl’s collection feature some modern classics picked up from local record stores or the money-draining Discogs. Damiano Von Eckhart’s Boiler Room brought ‘Wear It Out’ to our attention, from way back in 1979.

Then there’s the up-tempo funk of ‘Into You’ by JD Hall as remixed by Jonathan Morning, a 2005 release on Sunfire Records.

Following in a similar vein is the Masters At Work dub of St Etienne ‘Only Love Can Break Your Heart’ from 1991. An excellent house remix of an already great tune.

To cap off our top records of the month, we’re going to finish with another all-time great: ‘Knight Of The Jaguar’, by DJ Rolando. It’s been a firm favourite since we saw Rødhåd use it to close his set at last summer’s Dekmantel Festival, and it received a re-release in the autumn of 2015.

We hope you agree this is a fitting way to end.

Hot Karl is supporting Lorca and Mr Beatnick at Basing House on Friday 26 February. More details here.


Tagged , , , , , , , , , , , ,

Interview with TEED & Jack Savidge, Friendly Fires

Last month we had a right laugh at the launch of W Hotels’ Boiler Room series in London. Disclosure and Skream played a blinding headline set, but earlier in the evening we were also treated to this from TEED and Jack from Friendly Fires (check out the cheeky phone theft at 02:10):

It’s been a massive year for both of them, and we caught up with them afterwards to discuss their year, their approach to success, and what new music they’re listening to.

HD: So first up. Boiler Room works quite well in this kind of scenario, but is it quite weird playing to a camera rather than a crowd?

Jack: I think what’s good about Boiler Room is that they do, you know. When I first came down I was expecting it to be more of a camera-centric kind of thing, but they make it a real party. I’ve been down to see friends play and it’s always been great.

TEED: Also I think for me and for most DJs I grew up with, it’s basically like having a mix in your bedroom. You never had the decks facing out to the room, unless you were aiming at superstardom. You had them facing the wall.

HD: And what about playing in London? It’s a bit of a cliché, but do you notice differences in attitude and enthusiasm amongst London crowds as opposed to elsewhere?

TEED: Yeah, on the whole this is my least favourite place in the UK to play. But you can have a great night, of course.

Jack: It kind of depends when and where. From club to club it really differs. I don’t think you get the same reaction playing in Kensington & Chelsea as you would in Hackney, for example.

HD: In terms of locations generally, does anywhere really stand out in 2012?

Jack: I’ve had some good DJ gigs in Bucharest. Romania’s really good.

TEED: I want to go there…

Jack: Istanbul’s great. I suppose in Europe there are traditional centres of ‘having it’ which are London, Berlin, Paris – they’re still obviously strong but I don’t know if they’re as strong as they were five years ago. I think it’s moved elsewhere. I’ve had great gigs in St Petersburg, Moscow…

HD: I heard Machinedrum talking about playing on top of the old presidential palace in Bucharest and said it was insane…

TEED: Eastern Europeans are great.

Jack: Absolutely.

HD: Something else we wanted to ask you about, which you have no doubt been asked many times before, is potential tension between mainstream success and some kind of perception of authenticity. With the Nokia ad and the huge success of both your albums, you have become extremely well-known artists: does this affect the way you make music?

TEED: I think people have varying ideas about what it is to keep it real. And I’m not going to diss anyone’s ideas, but just do your thing, make music you’re happy with, put it in places you’re happy with, and present yourself in ways you’re happy with, and there can be nothing wrong with that. It really is your shit so you make the choices. How people take it and run with it is something you can’t really control. I made an album and some people like it who are really into deep house, and some people like it who really like pop music. Whatever, I really couldn’t give a fuck.

HD: So what’s next?

TEED: Continue to make stuff that I like. You can’t predict or worry about people’s reactions. The issues there get heightened by the internet. There are lots of people who like to spend time writing about what a real DJ is, and what’s cool at the moment, and it’s not helpful for anybody at all and it doesn’t produce any good music. The people making the music, I promise you, don’t care.

HD: What about you, Jack? Has your music changed as you guys have become super popular?

Jack: I don’t know. When we were making our second album, that was the first time we had any kind of expectation about either what it was ‘meant’ to sound like or how we wanted to progress it. Before that we didn’t have any kind of agenda. With the stuff we’ve been doing recently and will continue to do next year, I think we’re going back to that kind of ‘no agenda’ feel to it.

HD: Finally, enjoyed the set tonight. What kind of music are you into at the moment? Any favourite up-and-coming artists? Slightly agenda from us in the sense that we are planning our next party for February/March [we are, you know] so we’re on the lookout for young, UK artists to book…

TEED: Young people that I like at the moment? Some guys called Casino Times [whom we had posted about that very day, as it happens] and there’s a guy called fLako, who I really like, who’s putting out an EP on Five Easy Pieces. It’s kind of endless. And of course there are people who aren’t young who are making great music, more importantly. I’ve been thinking recently how weird it is that people now write their age next to producer profiles. They’re like, “I’m a 19 year old producer from Basingstoke”, and it’s like, “Dude, I couldn’t give a fuck how old you are. How does it sound?”

HD: It’s a good point. When we say young, I think what we actually mean is cheap.

TEED: No-one I hang out with is cheap.

Quite right. Whilst you’re here, why not listen to some music from the pair? This remix of TEEDs’ ‘Trouble’ from Montreal man of the moment Lunice is a nervous voyage of tense energy, while Tensnake’s remix of Friendly Fires remix is a much more straightforward disco rework of what was already something of a dancefloor-bothering crowd pleaser. Splendid stuff.

%d bloggers like this: