Miss Diamond if you’re disco

Today’s blogpost is dedicated to the sultry sounds of British singer Kathy Diamond. If there’s a Queen of New Disco, it must be her. Three different tracks in 22tracks’ current disco playlist are sung by her, with a fourth on the way as soon as I can get my hands on it. Anything Kathy Diamond touches turns into something precious.

“Love Saves the Day” by Kaine is as good a showcase as any for Kathy Diamond’s understated but soulful voice. It helps that the title is the same as Tim Lawrence’s groundbreaking disco chronicle from 2004, and the remake by Mario Basanov gives the track just that little extra push on the dancefloor. It’s not the first time that the producer from Lithuania has worked with the singer from England. Last year’s collaborative “In My System (Make You Move)” is a 90 BPM slowburner of a gem.

httpv://www.youtube.com/watch?v=f4zC8RsB4vI

“A Little Bit More” is a little bit faster, but not much. The track is by UK producer Toby Tobias, who doesn’t introduce the singer until three minutes in—very very slowly. They may just be some repeated phrases (“hold me a  little bit more”), but they sure set the mood. Exquisite strings take over from luscious synths and the whole thing is just a dream. Not much of Diamond’s contribution remains on Nick Chacona‘s “The Fear (Beg to Differ Remix)” but, again, what does is enough.

Not only is Kathy Diamond a very fine singer, but she knows how to choose equally fine production talent. I first heard about her three years ago, after her album Miss Diamond to You had already been out for a few months. That record is produced from start to finish by the legendary Maurice Fulton, and that’s all the recommendation anyone needs, really. Another big record Miss Diamond featured on was 2008′s “Whispers“, where she handed Aeroplane their breakthrough single. Nuff said.

I don’t know if a second Kathy Diamond’s album is forthcoming any time soon, as she seems to be preoccupied with a new duo called The KDMS. You can figure out for yourself what the KD stands for, but the MS is Polish producer Maksymilian Skiba. Last year’s “Never Stop Believing” was a jam, and new KDMS single “High Wire” (out later this month) is again sure to satisfy DJs on the lookout for a spot-on vocal performance. The video is rather silly, I’m afraid:

httpv://www.youtube.com/watch?v=1tAsA6VH8Cg

(Also, I don’t think I’ve mentioned “Tic Toc“, which is insane.)

The Count & Sinden set to go mega mega mega

Sinden (pictured left) and Hervé AKA The Count (right) are two of the most prolific English house producers of the past half-decade, both emerging during the fidget house eruption of the mid-’00s. Teaming up in 2007, the duo has released a series of stellar, catchy dance singles leading up to the release of their debut album next month. The latest, “After Dark”, is #nowplaying on 22tracks’ disco playlist.

The first time I heard a record by Hervé was in the spring of 2006, when I bought his “What You Need the Most” EP on the Dubsided label. Fidget house was one of the most exciting new sounds around at the time, and B-side “I’m Mo Try”, a co-production by figure head Switch, was the stand-out track on that 12-inch. A couple of months later, producer Switch (using his Solid Groove alias) also introduced me to Graeme Sinden. Another a co-production, “Red Hot” was a Baltimore styled club banger released on Basement Jaxx’ Atlantic Jaxx label:

httpv://www.youtube.com/watch?v=Doq8rF9RDww

Ever since, Hervé’s and Sinden’s discography is an intertwining maze that I won’t try and entangle here. I think their first release together was “Tamborzuda” (2007), a baile funk influenced rave track featuring Brazilian MC Thiaguinho. Back then, Hervé was still known as The Count of Monte Cristal. They’ve remixed Pharoahe Monch, Alphabeat and Robbie Williams, and, in a striking move, were the first club act to sign to Domino, one of the most important indie pop labels in the UK (its roster includes Franz Ferdinand, Arctic Monkeys and Four Tet). This is The Count & Sinden‘s second release for the label, 2008′s “Beeper”, featuring US rapper Kid Sister:

“Beeper” won’t be on Mega Mega Mega, The Count & Sinden’s debut album that’s coming out 23 August. New single “After Dark” will be, and it’s a little bit different from the crunchy bleepy electro-y (is that a word?) house sound that the two are known for. It’s a tropical summer dance record with a funky guitar and a disco feel. It also features the English pop band Mystery Jets, who have just released their own, third album. Here’s their latest video, “Dreaming of Another World”:

httpv://www.youtube.com/watch?v=oBRsXKgRAHc

I’m really looking forward to Mega Mega Mega (download a minimix here). After Basement Jaxx seemed to have lost their edge somewhat, this should be the bright, poppy, dynamic UK dance album to take their cue into the 2010s.

httpv://www.youtube.com/watch?v=fs9vRtZsMz0

Time for Ilija Rudman

One of the most prolific disco producers around right now is Ilija Rudman from the Croatian city of Zagreb. This year, he’s put out a single a month on average, not counting remixes. They’re all pretty good but the best of the bunch, to my ears, is his latest, “Time and Time”. When the bassline comes in you know you’re listening to a very big tune indeed. Wait for the (anonymous) female vocal, and its devastation. Blast this one from your window all summer, time and time again. It is #nowplaying on 22tracks’ disco playlist.

In an interview with UK retailer Juno Download, earlier this year, the Croatian DJ/producer explained his MO:

I’ve been collecting instruments for the past 10 years, it’s been a painful job! Ever since I was a child and saw my first synth I’ve been fascinated by them. I like to produce music with an organic sound. I haven’t got any plug-ins installed. You ask me a basic question about that kind of technology and I have no idea. I have like 30 midi instruments – 20 synths, five drum machines, bass, guitar, all kinds of instruments. I like to do things in an old fashioned way.

You can tell from “Time and Time”, which sounds like it could have been anywhere between 1983 and 1987. The same can be said of “Call Me Tonight”, which gets slightly updated by remixer Greg Wilson—also #nowplaying on the disco playlist. Rudman, who also runs the record label Red Music, has been releasing music since 2003. I think I first noticed him, however, at the start of last year with “Dance Disorder”, a supremely groovy slice of late-night 112 BPM funk on the great UK label Bear Funk. Looking at his Discogs page, the Croat has put out as many tunes in the year-and-half since, as in the six years previous to that. As we say in Holland: lekker bezig.

Both Breakbot and Aeroplane are yours

A nice little record on 22tracks’ disco playlist this past spring was “Baby I’m Yours” by Breakbot (pictured, four times!) featuring Irfane. Two Parisians: one producer, one singer. The song had soul, pop, sizzle and bounce and should have been a Top Ten song the world over. Jamiroquai had nothing on these guys. Listen, baby:

httpv://www.youtube.com/watch?v=6okxuiiHx2w

That’s a brand new video (hand-painted by Irina Dakeva), so this record is not finished. It’s just that here at 22tracks, we are often a bit quick on the take. Irfane Khan-Acito is the singer in Outlines, who put out an album in 2007 and who have not been heard of lately. He is best know for his “Just a Little Lovin” record from 2003, which took two years to get a proper release. By which time it really was finished.

httpv://www.youtube.com/watch?v=nHWcVuIQ468

Breakbot, so far, has been establishing his (terrible!) name mainly as a remixer for the likes of Digitalism, Evil Nine, Yuksek, Röyksopp, Air and Kavinsky. He is signed to the infamous Ed Banger Records, who don’t seem to be doing too bad in trying to find a new identity in the post-electro era. Both Kavinsky’s “Night Call” and Breakbot’s “Baby I’m Yours” already are hit records in my personal parallel universe, anyway.

To force a crossover, you could do worse than hire disco maestros Aeroplane. Since finishing their debut album We Can’t Fly a few months ago (it’s out in September), time for remixes has become availabe again to the Belgian duo. They rework “Baby I’m Yours” into a glorious Italo disco smash without sacrificing Irfane’s fine vocal. The remix, as well as their own “We Can’t Fly” is #nowplaying on the disco playlist.

All that you want, and more

It’s busy season for people recording cover versions, and those keeping track of them. It’s a much maligned artform, the cover, and indeed, more often than not it pales in comparison to the original version. This does not need to be. Some of my favourite all-time pop classics are covers: Marvin Gaye’s “I Heard it Through the Grapevine” was originally recorded by Gladys Knight & The Pips, and Otis Redding’s “Respect” arguably found its defining (female) form in Aretha Franklin’s recording. This blogpost highlights two striking cover versions #nowplaying on 22tracks: “Dear God 2.0″ by The Roots featuring Jim James (on the hiphop playlist) and “All That She Wants” by Chuck Norris (disco).

“Dear God 2.0” is an unusual record for several reasons. First, the original came out only a few months ago. To many people, it’s not all that familiar. Second, it’s in an entirely different genre (folk-pop) than The Roots’ style. Third, the original singer, Monsters Of Folk‘s Jim James, is making a star-reappearance. This may look like a strange way of working, but to the Roots crew it’s not. They did almost the exact same thing seven years ago with Cody ChesnuTT’s “The Seed”, turning it into their biggest hit, “The Seed 2.0“.

Anyway, here is the (beautiful) video for Monsters Of Folk’s “Dear God”:

httpv://www.youtube.com/watch?v=dzLJd-4ZpZ0

Chuck Norris is an alias for Norwegian disco god Todd “Terje” Olsen. His take on “All That She Wants” is of the kind where people cover totally uncool hits from the past. Except this cover is not a joke, or possibly even ironic. Zoning in on Ace Of Base‘s Scandinavian reggae touch, Olsen has produced a dubby, instrumental disco version of a bona fide ’90s classic that only needs to hint at the original version to put a huge smile on your face. If you need to have your memory refreshed, here’s Ace Of Base in 1993:

httpv://www.youtube.com/watch?v=SjJwqDa1QVI

Covers have become a marketing tool as well, peeking your interest with both novelty and the familiar. Two brands are currently distributing free cover MP3s. Dr. Martens has the likes of Dam-Funk and Buraka Som Sistema playing The Human League and Neneh Cherry. Levi’s had the same idea, and has hired (amongst others) Nas and Dirty Projectors to shine their light on Slick Rick and Bob Dylan, respectively.

httpv://www.youtube.com/watch?v=VjqscEsNpvA

Hit me two times: from Ian Dury to Bottin

As a blogger on 22tracks.com, I’m looking for an angle when I want to write about a track, or an artist. This is why you haven’t seen me covering any Latin or contemporary classical music here as of yet; it is pretty much alien to me. If you think there’s a good story to go with your favourite song on 22tracks, make sure to let me know at job[at]22tracks.com. Here’s a song with at least two angles, though: Telonious‘ “Hit Me”, the Bottin (pictured) remix of which is #nowplaying on the disco playlist.

I was a bit hesitant about this release because it is a cover version of a classic hit single by one of Britain’s tightest bands ever, Ian Dury and the Blockheads. Here’s the original verion, from a 1978 Top Of The Pops performance:

httpv://www.youtube.com/watch?v=Xq4NZEtNTAo

German producer Jonas Imbery AKA Telonius is one of the founders of the Gomma label and also one half of Euro post-punk disco revival pioneers (you got that?) Munk, who made a record titled “Kick Out the Chairs” with LCD Soundsystem‘s James Murphy and Nancy Whang as far back as 2004. His credentials, in other words, check out more than fine. Having said that, I’m not too sure about his version of “Hit Me With Your Rhythm Stick”. It falls a bit flat to my ears. The Blockheads were such a bad-ass band. Earlier this year, an Ian Dury biopic even hit British cinemas, a film that I’d love to see. Here is the trailer for Sex & Drugs & Rock & Roll:

httpv://www.youtube.com/watch?v=dMKjx8ilLCY

Italian producer Guglielmo Bottin‘s “Hit Me” remix, however, is excellent. In fact, there’s another Bottin track #nowplaying on the disco playlist. I told you there would be second angle. “Galli (Give it Up)” is a co-production with fellow countryman Rodion, who is signed to… Gomma. I love it when a story ties up this neatly. More importantly, “Galli (Give it Up)” proves that modern day cosmic Italo disco is alive and well. If its uptempo piano groove doesn’t get you going, I’m not sure what will.

Hit me!

Let Farah turn you around

One of my favourite new songs #nowplaying on 22tracks’ pop playlist is Farah‘s “Gay Boy”. To my surprise, it proved a little bit controversial. Well, I got two less-than-enthusiastic tweets about it, anyway. What’s not to adore, though? “Gay Boy” is a half-spoken/half-sung ode to an unattainable love, a hilarious love song from a woman to, well, you can probably guess the rest. “I can’t just be your fag hag anymore,” pleads Farah. The music is Moroderesque ’80s pop ballad with a dash of electro. “Won’t you change your mind?”

I’m sure “Josh” is at least tempted.

Farah Folly is a Texan artist signed to the very fine Italians Do It Better label, who also put out music by nu disco trendsetters Chromatics, Glass Candy and Desire. All of whom, Farah included, are produced by the talented Johnny Jewel, with Farah’s debut album Into Eternity coming soon, apparently. I can’t wait. I met Jewel very briefly in 2008 after a Glass Candy show in Amsterdam, when I bought a CD and a T-shirt, and got another CD for free. Glass Candy’s new single “Feeling Without Touching” is also #nowplaying on the pop playlist, but not for long as next week’s update will rudely see them off. Here’s the video, for posterity:

httpv://www.youtube.com/watch?v=F4Myo0QjwE0

Prins Thomas crossing over

Various artists are showing up in unexpected places this week on 22tracks, which can only be a good thing. It could either mean that artists are refusing to play up to expectations, or that DJs are willing to look over their fences. Or both. So, welcome Fink (soul), Diplo (dubstep), These New Puritans (electro), Janelle Monáe, Kelis (pop), Shit Robot (techno) and Prins Thomas (rock). I’m sure you’ll feel at ease in your respective playlists, and do not give considerations such as the above a single thought. As no artist should.

Some performers could be viewed as hedging their bets—but I’d like to think they’re just being versatile. Norwegian disco king Prins Thomas has recorded an excellent album of Balearic krautrock, but was smart enough to include a disco jam to justify his reputation in his field. The result is that he has two songs from the same, untitled, album #nowplaying on two different playlists: rock (“Sauerkraut”) and disco (“Wendy Not Walter”).

When it comes to longplaying pieces of music, “Prins” Thomas Hermansen has a habit of avoiding the dancefloors where his singles and remixes are usually aimed at. In recent years, he has recorded two albums with fellow disco traveller Lindstrøm, both of which are luxuriously chilled out affairs with a touch of psychedelia. Prins Thomas, the album, packs a bit more punch than those records.

To show off where he’s coming from, consider, first, the mighty Neu! from 1972:

httpv://www.youtube.com/watch?v=Wg10iC4bhvo

And second, Wendy (not Walter) Carlos‘ 1982 Tron soundtrack:

httpv://www.youtube.com/watch?v=3efV2wqEjEY

The biggest disco ball: Hard Ton

If you’re as much into the new disco movement as I am, you may also have noticed something is missing. Something that has been an integral part of disco music since its very start in the early-to-mid Seventies. That’s right: gayness. Where are all the gay people amongst the earnest, beard-stroking straight disco afficionados (yes, people like me) of the 21st century century? Reclaim your dancefloor! One flamboyantly gay disco producer and singer making excellent records right now is Hard Ton. His new single “Flawless” is #nowplaying on 22tracks’ disco playlist and is a record I very much look forward to spinning during Foxes & Wolves, this Thursday at Amsterdam’s Melkweg club.

“I’m the biggest disco ball” sings Hard Ton on “Flawless”. An obvious precursor to the Italian performer is the late American drag queen, singer and actor Divine, who scored an Dutch Top Three single with “Shoot Your Shot” in 1983. This is a performance from the same year, at Manchester’s infamous Haçienda venue:

httpv://www.youtube.com/watch?v=o2JLKnHLwRs

There’s no video for “Flawless”, but Hard Ton has another single out at the moment, and that one has. Brace youself for “Earthquake”:

httpv://www.youtube.com/watch?v=Pf_nq1J2oHM