mix album

Album Review: Heidi presents The Jackathon - Heidi

The Jackathon makes a bit of a poor first impression. Starting with an intro in the form of Derrick Carter telling us Heidi is bringing us something "you ain't never heard before” she then drops into Soul Clap's 'Incoming Bitch (Get Low)'. A problem for me on two counts - the intro smacks of self-indulgence from a DJ who doesn't have the reputation to permit it and 'Incoming Bitch' is a pretty terrible track from a usually dependable outfit - it's tasteless, two-dimensional and the combination of the vocal and high pitched squeals is frankly irritating.

It took me a while to get past this but I'm pretty glad I did - much of what follows is great. 'What The Funk' by Solomon is tasteful, minimal and, yes, subtly jacking house music in all the right ways. It feels old and new at the same time. DJ T. proves he still has something to offer on the drum-heavy dark vibes of 'High'. Featuring vocals from Nick Mauer, it gradually builds into a sweatbox of a track, a tribute to being lost inside the drugs and the music.

Juan Maclean seems to be on some sort of mission - following on from his excellent turn on DJ Kicks where he turned in a fantastic straight up house mix he helps Heidi do the same here with the inclusion of 'Love In Tatters'. It may not be rocket science but it's done very well - straight up head music, perfect for lovers of house.

Actor One delivers a heavy, dubby number on 'March Violets' that keeps things minimal and simple, shining all the brighter for it. The mix closes with Steve Bug's 'Jack is Back' followed by an outro by Derrick. Sadly this feels slightly anti-climatic - Bug's track is fine enough but it doesn't feel like an 'end' and the outro is not much better than the intro. The result feels like the warm-up DJ handing over to a headliner rather than the end of a night peak.

So a duff start and, to be honest, a few too many mentions of the word (/ name) Jack (yes, we get it, it's about jacking) but other than than Heidi hits her target here. The Jackathon is mostly pitched just right - it's a mix album for lovers of stripped back, simple house music that's perfect for a sunny day or a pre-night out warm-up.

BP x

Heidi presents The Jackathon is out now on Get Physical, available from Amazon.co.uk on CD and MP3 [affiliate links].

Album Review: We Love... Portraits 01 - Mat Playford

We Love... has been the tale of Ibiza legend since its inception back in 1999 when it took over the infamous Sunday all day and all night slot at Space. A club night that originally started on a Sunday morning and ran for a full 22 hours, whilst revellers can bask in the outside terrace area: what's not to like?

Except of course times change - Space first received a canopy (blocking out those glorious hands-in-the-air as planes swoosh over moments) and then a full-on roof. The hours have now been reduced to 14 hours, with the action kicking off at 4pm on Sundays. I went back to Ibiza last year for my second time, the first time in seven years. I wasn't there on a clubbing excursion but even so - things have noticeably changed. The warmth of the white isle runs through my veins - it's difficult to resist the lure of gorgeous beaches, sunshine and house music - but things change.

At least they have changed for most of us. Because if you listen to Mat Playford's 'artist profile' you just might find yourself falling down the rabbit hole. This being number '01' it clearly represents the first in a series so I can't conclude that they will all follow the same format but what we have here is basically two albums. The first is an artist effort, with Mat Playford (or his Weirdo Police alter ego) providing original material, whilst the second set is a conventional mix album.

If this sounds like a bad idea, that is because it is. Albums by DJs can be pretty terrible at the best of times, sticking one at the beginning of a mix CD screams 'phoned in'. As such I'm pleasantly stunned to find that Playford's own material here is mostly good and at times excellent. It is truly soaked in Balearic vibes but it still takes in a variety of sounds - opening track 'Evidence' is cosmic and chilled, like Jean Michel Jarrett taking over Café Del Mar. It's easy to bite your thumb at a bit of chill these days but this is surprisingly good and when it is sunny it sounds undeniably good.

The DJ set element kicks in with one of Playford's own compositions, smoothing what could otherwise have been a slightly bumpy transition. Things start fairly laid back and cosmic however, with Ford Inc.'s 'Delirium' little more than some gentle funky keys and Salt City Orchestra's 'Downtime' adding a bit of bass but still playing gently.

Mat Playford's mix of Luca C's Ali Love featuring 'Different Morals' is the first track to raise the pulse a little, but it keeps things classy - funky but minimal, Love's vocal doesn't overpower the mix and the real star here is the reverb, coating the song in deep, lazy sunshine. The dark acid house of Joe Morris' 'Velocity House' is another highlight, vintage house stabs pounding out a melody that emerges from the darkness like the sun cutting through grey.

The set finishes with the epic 'Face The Music' by Tim Deluxe, which combines loose, live sounding percussion with a euphoric techno-inspired synth line. It's all hands-in-the-air until the break drops all but the beat and throws in a piano and some classy brass. Suddenly you really are on the (proper) terrace at Space, listening to a fusion of jazz, house and techno.

It's a fantastic end to the set and the album. Portraits 01 does a great job of recapturing the spirit of 'We Love...' and does a good enough job at demonstrating Playford's DJing and production skill. Now if only I had another trip to Ibiza on the cards...

BP x

Portraits 01 is out now on We Love Recordings, the full set is available from Amazon on CD or MP3 [affiliate links].

Album Review: Future Disco Volume 4: Neon Nights - Various

The Future Disco albums always look as if they are a little too cynical to be any good. The concept just feels too well worn, too obvious.

Yet every time BlackPlastic hears a new one there is always enough to impress, and the same definitely goes for Future Disco Volume Four, subtitled Neon Nights. In fact, we'd go so far as to say that volume four is probably the best yet.

Things start well, with Greg Wilson's mix of a cover of Dillinger's 'Cocaine' by Escort - a wobbly heavy-based take on a classic. But it is Stefano e Bene's 'Why Your Love' that really kicks things off, starting off a series of absolute gems... The transition into the Classixx Acapulco mix of Holy Ghost's 'I Will Come Back' is beautiful. And what's more this is easily Holy Ghost's best track since 'Hold On' - exactly the kind of classic house with attitude we had been yearning for.

Ray Mang's mix of 'Ocean' by 2020 Soundsystem is equally epic - subtle and cool but with lush muted vocals running through the song - and then the listener is treated to Bad Rabbits' 'She's Bad', which we have already declared our affection for. Next up is 'Zombie Tropicana' by Hannulerauri, a track which sounds like something New Order would have made if they never came back from Ibiza after making Technique and had instead just kept on the E and given up wearing clothes. In other words, expect lush basslines, warm synths and a pervading sense of loved up apathy.

Elsewhere Tape To Tape's 'Pure & Easy' shines for it's sprinkling of starlight and peaking basslines and the double dose of Kaine feat. Kathy Diamond's 'Love Saves The Day' really pays off when it hits the original mix but in all honesty it is the middle third that really makes this album special.

In the age of MP3 blogs and Soundcloud mixes proper mix albums are feeling increasingly rare - each good one feels like it my be the last. You could worse than make Future Disco Four the last one you buy.

BP x

Future Disco Volume 4: Neon Nights out on Need Want on 7 February, available to pre-order from Amazon.co.uk on CD or MP3 [affiliate links].

Album Review: DJ-Kicks - Various mixed by Apparat

The DJ-Kicks series appears to be hitting something of a stride... With several notable releases this year already in the bag, The Juan Maclean's being a particular highlight, here comes one more from IDM innovator Apparat.

And Apparat's entry certainly doesn't drop the ball. To a certain extent it does what you would expect... It's intelligent, electronic music that is built more for home listening than the dance floor, but the quality of the music and timing is good enough to make listening (repeatedly) a pleasure.

Things start off fairly heavily with Apparat's own 'Circles' - what feels almost like a trance track with a cinematic world-music guitar motif - before getting dubby on fellow IDM-ers Telefon Tel Aviv's 'Lengthening Shadows'. From there things spin out in multiple directions. This is a mix that is one moment cold, hard and clinical and the next warm and embracing.

The latter is best demonstrated by Four Tet's stunning remix of 'I Need A Life' by Born Ruffians... A track that manages to simultaneously feel like the heat of summer and joy of Christmas. It creates a neat centre for the album before things turn darker on Vincent Markowski's classic 'The Madness Of Moths' and Four Tet and Burial's 'Moth'. As Thom Yorke's haunting 'Harrowdown Hill' emerges from Ramadanman's 'Tempest' there is a stark urban feel to this album that shows the influence of Apparat's recent collaborations with Modeselektor.

The album closes on Tim Hecker's ambient melancholy drenched 'Borderlands'. Apparat's DJ-Kicks album is a serious business and that may alienate some, but it is a testament to how a good mix album can be much more than the reconstruction of a live DJ set. This is a mix album with more emotional punch and ambition than most electronic artists manage on their own studio albums, and for that BlackPlastic salutes it.

BP x

DJ-Kicks by Apparat is out now, available from Amazon.co.uk on CD, LP and MP3.