The kind folks from ‘Boogie Originals’ have given us some fine copies of their last 3 vinyls to give to you fine folk!
Listen to the vinyls HERE
Here’s a hint, his name is an anagram of: Romeo Or Doggier
Review by Matthew Crick
From the prospect of wrestling a bear, to the frolicking utopia of Garden Festival, 2012 could literally be another hands-on year for PBR Streetgang.
No one has ever questioned Bonar Bradberry and Tom Thorpe’s work rate or commitment to the cause (the music industry, not modern bear combat) ever since the pair met almost a decade ago, and rightly so. It would also be foolish to say that the PBR brand has flirted with ubiquity of late. Their remix back catalogue is long but certainly not drawn out, tinkering unforgettably with the sounds of Crazy P, Odyssey and Death On The Balcony, as well as some solid homegrown work on labels that include Wolf Music, 2020Vision, and for their recent Downstroke release, Hot Creations. An impressive CV, so far, you’ll agree.
So as music partnerships go, Bonar and Tom are seemingly very compatible. A happy marriage, you could say, that is celebrating 10 years of crowd pleasing and festival teasing, which all started when they were fostering their trade in the legendary Asylum club in Leeds. For those fortunate enough to grace the dance floor during this tenure, you would have seen and heard some indelible moments, from Henrik Schwarz to Maurice Fulton projecting their celestial powers, to name but an esteemed few, at a venue where the boys can safely call home. Oh and they annually hold the fort at a little club called Space in Ibiza too.
The Boogie Boat is clearly not running out of steam anytime soon, and with spaces in high demand, you had better book your ticket now.
Review by Matthew Crick
Should Bonar Bradberry reflect on 2011, most likely with his PBR Streetgang compatriot Tom Thorpe, then history would suggest that he’s one very happy chappy indeed coming into 2012.
Putting PBR to one side, but certainly not forgetting, Bonar follows up his revered 2010 debut EP, Siula Grande, with You Were Away – his second portion of goodness under the Needwant dynasty.
What started life as a simple yet stunning instrumental, You Were Away was subsequently filled with the soft, ethereal vocals of Bonar himself, a recommendation
that has worked out perfectly. Space Ranger’s remix sensibly maintains the vocals and overall laidback vibe, however in typical fashion of the German trio, tweak it enough to inhabit late night territory.
Flip to the B-side and you’re greeted with Lip Therapy, a beautiful synth number with retro sounds that leaves you in a natural state of euphoria. Allow Maxxi Soundsystem at your music and there’s only one outcome: a brilliant dance floor track that’s rich in bass, blended with additional Yeh Yehs for good measure.
Bonar will be coming to London in March 2012 with his partner Tom Thorpe to headline one of our upcoming series of events. To win free tickets and keep up to date enter you email HERE
Interview by Courtney Nichols
Jacques Renault is a rare breed of musician: not only is he a fan’s artist, but he also is an artist’s artist. From the likes of Dimitri From Paris (for Dimitri no disco track is too dated to re-master), to DFA personalities who have masterfully blended the worlds of contemporary music and pop culture, Jacques Renualt’s fan base is an every-growing pack of A-listers to Z-listers, smooth cats to stray cats, bulky jocks to men in frocks.
Based in NYC, Jacques Renault’s eminent rise to nu disco fame resulted from a post-punk upbringing in Washington DC. In 1997 he relocated to the Chicago to continue viola education. The viola soon transformed into house music, and he scored a residency at Smart Bar and became a buyer at the legendary Gramaphone Records. Like 70’s icons that predated Renault, The Big Apple demanded his presence. Manhattan stints at Happy Endings, APT, Tribeca Grand and 205 Club, rapidly became global stints at Tokyo’s Womb, Rio’s D-edge and London’s Fabric and Plastic People. Record labels went mad for his pure sound and stoic demeanor. DFA, Chinatown, Throne of Blood, Italians Do It Better (among others) commissioned remix after remix, track after track.
Despite worldwide acclaim, Jacques Renault remains refreshingly local, consistently playing to his NYC crowd through his Let’s Play House idiom with close friend, Nik Mercer. Jacques has also launched his own label, On The Prowl, which has featured original material and remix work from Azari & III, Tensnake, Coyote, and sloughs of various nu disco staples. Like The Twin Peaks character of the same name, Jacques Renault is a pimp dealing out the latest and greatest in dance, electronic and the like. His drug is disco, and everyone is getting addicted.
The House Of Disco: How have you seen the disco / dance scene differ between the US and Europe?
Jacques Renault: It’s pretty tough to say; we influence each other all over the world. Taking a bit from here and there creates our sound.
That being said, do you also see a difference between playing the East and West Coast?
A bit, but each DJ has their own take and push. As a whole, each region will have a statement to make. Italy over the years, like NYC or Berlin for example, has been creating big scenes that people notice all over the world. It has something to do with who you surround yourself with and where people gather, of course.
Obviously much of your notoriety has been the result of parties you have either hosted or played at. Do you find that community, either on or off the dance floor, is an integral part of the nu disco scene?
Absolutely. I think a lot of the friends I have made over the years have built this into a global music scene. The vibe in NYC is a great example of how all of our friends are going to different parties, playing each others events, promoting things maybe unknowingly just by their attention to what is happening on the Internet.
On The Prowl is decidedly more of a curatorial project rather than a straightforward record label. Discuss this recent trend of record label as curation.
I like to look at all my projects from as many angles as possible. I try my best to work with people, I find that when I get to dictate the night, the song the album or the label it is just a part of the larger picture. I enjoy working with people and creating something that isn’t quite out there. That’s how new things are obviously born, but opening yourself to more ideas to what already exists will push yourself to keep going forward. That’s how I’ve been exposed to so many artists from around the world. We’ve all heard this 4/4 beat, how do we add to what will forever exist?
In that same vein, have you noticed a cultural shift from parties as random acts and random audiences toward parties as curated events?
It’s easy to say that people have been drawn to a particular style or look of music and where it is located. The not-so-regular-venue changes constantly these days and that these parties are what I like to go to; for example No Ordinary Monkey or A Club Called Rhonda are similar to how I curate my own Let’s Play House events. Legendary clubs in like Paradise Garage or Panorama Bar don’t really have to think about these things. I think personal style, taste and pride take direction in where we trust our music influence direction.
Through what means do you discover new acts to either sign and / or become a fan of?
That’s difficult. I miss my days of going to my favorite record stores and discovering my music on my own. Either it was from my record store friend or an attractive cover or label, I continue to look for that experience in NYC and online. I’m bad at keeping up with music blogs, but try my best to hear as much music as possible to hear what it is I think is me. I joke that I hear more bad music than good, but that’s the whole point for me. I want to hear more and more and then it will hit me. I’m they guy you have to wait for at the listening station because I’m listening to more than the limit. I try to hear the most out of everything.
What is the last live show you have seen that blew you away?
I saw Holy Ghost! last week and they sounded great. Maybe I’m being biased because I’m friends with them, but to be honest the handful times I’ve seen them they’ve just gotten better and better. It’s great to hear them.
Being classically trained in the music world — do you find yourself collaborating with artists that have a similar educational background? Do you prefer to work with artists who are analog inclined?
I’ve always been more of a “player” than a “studio guy.” I think my studio skills have gotten better over the years but I tend to collaborate with people that have a slightly different background than myself. I think it helps with new ideas and opens up sounds that I would not have considered before. You’re obsessed about different details.
Where would be the most spectacular place to overhear one of your tracks?
Anywhere on the water, beach, boat, canoe, etc.
Beside music, do you have interest in collaborating with artists of other artistic forms?
I went to art school so I’ve done a few odd things. But I joke about being a wine nerd or a foodie. I don’t know enough but I respect the people that know.
Have you ever stepped back from the music and wondered why now? Why is disco on the upswing? What is it about contemporary culture that is craving dance?
Disco was never here or there it’s always been present. People can doubt it but it’s just been in one form or another. It’s feel good music and you really can’t deny it if it’s good. I know there’s plenty of bullshit music out there, I went there and it just puts the few stand out tracks in front that you will remember for as long as you want to. People will always want to feel good, and they want the soundtrack and the memory with it.
Review by Matthew Crick
The KDMS (aka Kathy Diamond and Max Skiba) have only been around for a couple of years, but it feels like an eternity. Not in a painful or resentful way, of course, but more in an established and potent sense.
In Tonight, the third EP under Gomma, Kathy “London’s underground Disco Queen” (who actually lives in Brighton) administers her standard dose of fervent vocals, while Max “the 22 year old supertalent from Poland” (who doesn’t live in Brighton) proves that his skills as an adept producer aren’t in question – reinforced by the fact that Morgan Geist has set his creative talons into the track.
Although the original has all of the duo’s characteristic electro charm and persuasiveness to be a hit, it’s Geist’s version that strips down all of the organic substance and leaves you with a very synthesised but intelligent interpretation. Verdict: we think the future is certainly bright for The KDMS.