Dial Me In

Back in 2016 Factory Floor, then recently reduced to a duo, put out an album called 25 25, an eight track monster full of huge springy, squidgy basslines, modular synth noises, 303s and 808s, simple repeated vocal snatches- minimal but big. Precise, endlessly energetic, the sound of the night taking off and you just staying there in the exact centre of the floor and the sounds.

Dial Me In

Monday’s Long Song

‘What were the pies like when you were young?’ someone asked on Twitter on Friday night to which the answer could only be what Rickie Lee Jones replied to a very similar question…

“They went on forever, they, when I w- we lived in Arizona, and the skies always had little fluffy clouds in ’em, and, uh… they were long… and clear and… there were lots of stars at night. And, uh, when it would rain, it would all turn – it- They were beautiful, the most beautiful skies as a matter of fact. Um, the sunsets were purple and red and yellow and on fire, and the clouds would catch the colours everywhere. That’s uh, neat ’cause I used to look at them all the time, when I was little. You don’t see that. You might still see them in the desert.”

Skies mind not pies.

Little Fluffy Clouds is getting on for thirty years old and is one of the cornerstones of ambient house and never sounds old. On this track The Orb (at this point Alex Paterson, Thrash and Youth) borrowed heavily from Steve Reich, Ennio Morricone, Harry Nilsson and Lee ‘Scratch’ Perry along with the vocal from Rickie and the snippet from John Waite at the start about ‘the traditional sounds of the British summer’. These two mixes aren’t too dissimilar despite their names and taken together give you almost a quarter of an hour of Little Fluffy Clouds to kick off your Monday.

Little Fluffy Clouds Ambient Mk.1

Little Fluffy Clouds Dance Mk. 2

Like A Ripple

Steve Mason started the year with a new album, About The Light, an album recorded with Stephen Street which brought all the Steve Mason songwriting chops together with gospel backing vox, Magic Bus guitars, soaring choruses, anger about Grenfell- an accessible, big sounding album. He’s about to release a 12″ single/ep called Coup d’etat, three new songs and a remix of America Is Your Boyfriend by Tim Goldsworthy. The first came out on the internet on Friday, Like A Ripple., built around a low slung bassline, fast, frenetic drums and growly vocals. There’s some fat synth bass noise and a touch of New Order at around three minutes plus, backing vox and choppy guitars and everything powering onward. The lyrics of Like A Ripple start ‘every time you talk about the same things every day/ I can’t talk it’, which taken along with the coup d’etat of the title of the ep may or may not be related to our current Prime Minister. We could do with some decent political pop.

A Street Light Cavort

A long mix for Sunday from Rude Audio, South London’s finest purveyors of dubby, cosmic Balearic disco. This is three hours of excellence taking in some of their own work alongside tracks from the likes of Bedford Falls Players, Lord Of The Isles, LCD Soundsystem, Jono Ma, Silver Apples, Rich Lane and someone called Andrew Weatherall. Press play and enjoy the groove, ‘a cavort with the wrong sort, uptown’. Tracklist can be found here.

Rude Audio have got an eight track release out soon, hot on the heels of their Rude Redux e.p. in October last year. Street Light Interference has four new ones and four remixes. The lead track is here, Repeat Offender, bouncy bass and beat, dub echo pinging around, and some keyboard lines wandering in from a John Carpenter film. After four minutes things start to get quite fizzy and more urgent. This can only improve your day, your weekend and your summer.

You Don’t Really Need Me

This is from a new e.p. by Dan Wainwright, a resident of these parts apparently, a slice of cosmic, Eastern tinged, progressive chug which at some point in the fourth minute when the soft multi-tracked vocal comes in reveals itself to be a cover of The Supremes classic Keep Me Hangin’ On.

The e.p. then takes a turn into darker territory with a Hardway Bros remix, a moody, low slung groover, the appropriately titled Swamp Dub, which sounds just like a sweaty basement after hours. In a good way.

There’s a third track too, The Endless Process Of Release, starting out with synths and coo’d breathy backing vox, some lovely sequenced bass and then a mid-tempo beat gently pushing things forward, various percussive sounds reverberating round the mix, more roof terrace in the sun than cellar rave, until it all starts to build for the last few minutes, twinkling arpeggios and rushing bleeps.

Monday’s Long Song

This is ten minutes of bliss from 2017, a Steve Cobby remix of a track from Tempelhof and Gigi Masin’s Tsuki album. The song sets out at a leisurely pace with xylophone, synth strings and pattering drum pads and isn’t in any kind of hurry to get anywhere.The vocal floats over the top, the words just so slightly indistinct that you can’t quite make them out. If only the sun would come out and we didn’t have to go to work, this would be the perfect way to start the week.

Rainford

May must be a prime time for throwing your art out into the world, this is the fourth new music post in less than a week here. Today’s new music alert is from Lee Scratch Perry who has an album out at the end of the month, recorded with Adrian Sherwood at the controls. Rainford is a personal, autobiographical record recorded in bursts over two years in London, Jamaica and Brazil. Sherwood describes it as the strongest set of Scratch songs for years and set out with the intention of doing for the Upsetter what Rick Rubin did for Johnny Cash. The lead single Let It Rain goes some way to fulfilling those aims, catchy as you like and sounding like a song for the summer. The album can be pre-ordered at Bandcamp.

Scratch is on Twitter. On Sunday he Tweeted ‘ALTHOUGH WE’RE IN THE END TIMES, WE ARE NOT AT THE END OF THE TIME. BE CAREFUL WHO YOU LISTEN TO.
SATAN IS RAGING NOW BECAUSE HE KNOWS THE TIME IS SHORT DON’T LISTEN TO GLOOM AND DOOM. IT IS TRICKERY DESIGNED TO DRAG YOU DOWN. WE SHOULD BE REJOICING AT WHAT GOD IS BRINGING FOTH! And there’s plenty more where that came from.