The first thing you’re probably asking yourself is, “Um, what’s the deal with the horse?” To be honest, we’re not entirely sure either, but let it go, that’s not important right now. What is important is the fact that the duo of Zev Eisenberg and Gadi “Baby Prince” Mizrahi, better known to their admirers as Wolf + Lamb, have ventured beyond the universe of their Crew Love label for the first time to release a new single. For this historic step, the pair have chosen to hook up with the legendary house haven Strictly Rhythm, and judging from the aural evidence, it was an exceedingly successful partnership.
On September 7, Strictly Rhythm will release “After We’re Gone,” on which Wolf + Lamb retain a connection to their previous work while adding something fresh to the mix as well. It’s the kind of track that ought to sound just right around 3 a.m., when you’re a wee bit delirious from a night of clubbing and things are starting to get just a little bit hazy. That’s when “After We’re Gone”‘s blend of insistent beats and smoky, sensual atmosphere will hit you just right. Of course, it’s entirely likely to work at other hours of the day as well, that was just a suggestion…..
A week after producer Ten Walls’ homophobic rant on his personal Facebook page went viral and basically ended his career, Wolf + Lamb producer Tanner Ross has apologized for a barrage of awful tweets aimed to provoke Resident Advisor’s North American editor Andrew Ryce. Piecing together the story, Ross apparently didn’t like Ryce’s unimpressed review of Jamie xx’s new album, In Colour, and set out to piss Ryce off.
Ross tweeted: “Musta felt so good to give Jamie Xx a bad review. What was it like? Did your dick get hard?”
His follow-up: “@andrewryce like… I feel so cool just reading it. Can we rub our dicks together and go to Creamfields?” and “@andrewryce I was doing my dissertation at Fabric with Craig Richards before you came in someone’s ass.”
Ryce screenshotted the deplorable tirade (see below) and filed a complaint with Twitter, claiming Ross harassed and provoked him but reportedly to no avail.
As a result of the incident Ross was tossed from bill at the Crew Love party tonight in Barcelona.
When Ross’ comments went viral, he deleted many of the tweets and issued an apology on Facebook.
“I apologize to those who have been offended. Attacking someone verbally is absolutely wrong but I was not coming from a homophobic point of view. There really isn’t enough words that can express how sorry I am. I truly am sorry.”
Good luck on your next career, Tanner Ross. Dance music has no room for hate mongers like you.
On “Messin” Crew Love stalwart Navid Izadi channels ’80s Latin freestyle — a genre whose lyrical matter is mostly derived from tales of a lover who’s done someone wrong — and offers a fantastic contemporary spin. Joined by Angelica Bess from Body Language, Izadi, who has previously collaborated with Deniz Kurtel, PillowTalk and Soul Clap, calls out this despicable cheater while getting down and dirty with his badass grooves.
We’re pleased to world premiere Midnight Magic’s remix of “Messin,” an interpretation that adds more fuel to Izadi’s musical fire.
Check out the Brooklyn collective’s remix below and be sure to listen to Izadi’s five-track EP which will be released June 22, 2015 on Wolf + Lamb.
Lounge electro-pop with its head in the clouds, meets a deeper burning desire to get on the dance floor, which turns into a pitstop from a galaxian cruise, and returns feet to solid ground. It doesn’t sound like a best of both worlds situation hatched between Greg Paulus and Nicholas DeBruyn, particularly when some hippish rap leaves its mark as well, but all works unexpectedly well in No Regular Play’s covenant of cool.
The Marcy Hotel-educated pair look to out-dreamy other groove fantasists, with “Nameless” draping over a cosmic chez-lounge, dropped back down to earth by the techno-toothed “The Answer” taking out mumbling jazz pianos. The title track keeps the breathy vocal function over forward deep house in its keenness to look/sound the most dapper, with the first interjections of rapped rhymes acting like heavies on the door making sure you’re enjoying yourself.
Reaching for the astral doesn’t make Endangered Species a sleazy listening experience, defying a not unreasonable expectation of the electro vistas being given a lick of the slimy. “Never Had Enough” is seductive, but makes gentlemanly intentions known, cruising in a hover car with its bubble down as it does. “Kickback” is funkily playful, sounding like a Digital Underground jam for the year 3012 before providing an alternate ending, and “El Dorado” is chic deep house with a killer stab of bass interacting with the falsettos. Fashionable, yet vibrantly in touch with the common ear.
File under: Dave Aju, Jack Splash, Soul Clap
The producer who developed the idea of music as guardian angel doesn’t ditch her sonic surveillance on her sophomore album. Not as clingy or up close and personal as her debut, Music Watching Over Me, Deniz Kurtel maximizes her right to be standoffish, with the introduction of Anti Pop Consortium-style hip-hop — the title track, “Right On” featuring Spearhead’s Michael Franti — increasing the pressure.
Within the ’80s inflections syndicating electro-pop and Detroit/Chicago layovers, “You Know It’s True” re-models two well-known pop fraudsters and “Thunder Clap” draws space fantasies in moonboots. There is expansion, yet the enigmatic grip Kurtel has over you continues, a skeletal hand that manages to be warm and pulpy when “Wake Me Up” shows human sincerity and “I Knew This Would Happen” brightens up. Kurtel’s string-pulling and wicked witchedness means she encourages tracks to spread their wings, but issues warnings that The Marcy All-Stars must report back to her or else.
The audio-visual element in which she also specializes in doesn’t make for much of an exhibition on paper, showcasing a canvas of shuffling, snapping darkness fleetingly illuminated by a mix of sleek and faltering neon through the blinds of the Marcy Hotel. Kurtel reiterates the skill of heightening the senses by taking away from them, where the starkness leaves the imagination to fill in the blanks. Super cool.
File under: Soul Clap, Gadi Mizrahi, Maya Jane Coles
Cool is such a difficult thing to achieve. You can’t try too hard to get to it, but being blasé about it usually digs its own hole. Soul Clap reach the C word by carefully guiding space-bound electro away from sleazy environs, while maintaining a sexual appetite.
“The Alezby Inn” is coded for something salacious, the one fantasy tome where Eli Goldstein and Charles Levine ooze with the oily charm of a celestial pimp spitting booty bass poetry. But, as ever, their understanding is that powering down means the sensual can come to the fore. “Islands in Space” heads to make-out point, and “Ecstasy,” featuring Mel Blatt from past UK girl group All Saints, slopes off to the parents’ bedroom away from the house party. Meanwhile, the prowess of “Clapping Song” isn’t too cool to laugh at itself, given that it comes equipped with a kazoo symphony.
Boldly playing up to electro-soul nostalgia, R&B popstrels “Take It Slow” and “Let It Go” confidently remind that keyboard is king, and the same self-belief runs through the risks the album takes. “Need Your Lovin” is yet another re-up of Baby D/The Korgis – now seasoned with Salt n Pepa – and “Let’s Groove On,” with nods to Doug Lazy and Chad Jackson, toys with irony and knowledge. Soul Clap: cool, but without rubbing everyone’s nose in it.
File under: Chromeo, Egyptian Lover, Jack Splash