Blake Baxter – When We Used To Play (Mint Condition)
Mint Condition have now officially ruined this repress malarky for every other label by actually making it interesting. Where, once upon a time, various outfits could chuck out endless re-releases of well-known hits from yesteryear, safe in the knowledge that they’d be lapped up again and again, Mint Condition have arrived on the scene and promptly spunked all that cynicism right up the nearest whatchamathingmy with the simple act of releasing a slew of interesting selections that seem all the more exciting because they aren’t really titles that you would have thought of if asked.
Anyways, This is one of two Blake Baxter represses appearing on Mint, and it’s a blinder. The other record, When The Thought Becomes You, essentially a re-release of his Prince Of Techno EP with a slightly different track listing, is probably up there with Sexuality as his most loved track – and that’s fair enough; it’s an eternal jam, as beautiful as it is groovy and a permanent reminder of just how intoxicating techno can be. But I’ve always loved When We Used To Play the most out of the three. I’m not sure why, only that I know it does something to the hairs on the back of my neck and drags me back through time to when I first heard Baxter’s music. It’s a great release, and every track is a corker, but it’s worth it for the breakbeat mix alone which is a true work of wonder. Buy now and try to work out why Baxter isn’t held in as much esteem as the Belleville three – if not more.
Keith Tucker – Detroit Saved My Soul(Mint Condition)
Look! It’s Mint Condition again, and they’re proving everything I wrote above! Gorblessem! While their release schedule is brilliantly off-to-one-side, this repress of Detroit Saved My Soul, first released on Glasgow label 7th Sign back in 2005, is a real treat for the electro heads. Seeing as Keith Tucker is better known for his work in Aux 88, Optic Nerve, Alien FM, DJ-K1, and a legion of other names, that aforementioned electrohead just happens to be me.
First thing to say here is that it’s a slightly curious feeling record. That’s not a bad thing – quite the opposite – but it’s not wall to wall technobass banging. In actual fact, this is an exploration of a slightly different side of Tucker’s musical personality. And although he brings an impressive, effortlessly cool slice of Detroit electro-futurism to the party in the form of Elektronik (and provides a snapshot of sorts of the musical links between Model 500 and Aux 88), the other two numbers are equally worthy of your time. The title track itself kicks on with a slick, laidback groove that’s part prowling, darkened house, and part pure Detroit techsperimentaion, all strung together with a shadowy energy which wouldn’t be out-of-place on either of the Baxter records I discussed earlier. My Metal State closes things down with a swirl of deeply introspective techno-soul which’ll climb through your mind like it’s looking for somewhere to hide from the world. A very different side of Keith Tucker. Get on it.
VA – Rhythms Of The Pacific (Pacific Rhythms)
This much more recent release (from 2014) seems to have got a wee bit of a much-needed repress recently, which is great because the original seemed to sell out pretty darn quickly all over the shop. I’ve never really bought into the whole Moodhutty/ Vancouver thing. I’ve tended to find a lot of the music either a little hazy and insipid, or a lot less fresh and new than some people claimed. Still, there’s no doubt of the scene’s popularity, and Pacific Rhythm’s little run of VA samplers was generally quite a good collection of tunes by an interesting bunch of artists.
LRNDCroy’s Time Zone, which sounds like Joey Betram’s Energy Flash shot full of tranks, and Hashman Deejay’s wonderfully scruffy and low-rent mix of Memory Man’s Memory Man are both great and ear opening additions to the canon, but it’s the other two tracks which do the real damage. Cloudface’s Panter Blue is acid house reduced down to the absolute minimum of drum track, a 303, and a weird springing noise. It needs nothing more to do its job as it wobbles around, always looking like it’s about to fall flat on its face. Cheeky and pretty damn funky.
The genuine highlight though is LNRDCroy’s opener, Sunrise Market, which is a tune so haunting and warm it should be considered worthy of that most overused sobriquet, ‘classic’. It really is. Not only a high point of LNRDCroy’s own work, but one of the real moments of the last few years of electronic music. An absolutely timeless piece of drifting, new-age funk which serves to prove that deepness needs soul in order to work its magic. Gorgeous.