There’s more Shimotsukei to talk about soon, but before that a quick mention of this three (!) hour NRG session that ticks plenty of the TYFTH boxes. Although there’s already an endless supply of recordings on Shimotsukei’s SoundCloud, it really does add to the enjoyment of live sets when you can see what’s going on. Plus in this case there’s the very helpful overlay to answer any tracklist questions and a pretty lively chat that’s worth keeping an eye on.
If NRG’s your thing then this really is an essential listen – it’s very likely you’ll hear some forgotten classics as well as some more obscure selections. As things move into freeform territory it’s also a good chance for fellow DJs to check a few Before the Dawn tracks in a (well) mixed environment
I’m slow (of course) to mention the most recent FINRG podcasts, but even if you’ve heard them before they’re well worth a revisit as DJ case studies.
Listening to these sets you can hear right away what freeform means to each DJ, with both featuring some similar tracks as part of two very different atmospheres. JNKS’ 64 minutes goes from happy/UK hardcore to some solid gold FINRG and back again, while Alchemiist plays some surprisingly melodic freeform, connected to neurofunk and hardcore by a few darker oldies.
JNKS’ selection is spot on, with a huge number of later-era happy anthems (including remixes to keep veterans of the early 90s happy), while the potentially hazardous transition into the FINRG section is very nicely handled. You really can’t beat the gritty sound of tracks like Killer Instinct and Illuminate, and of course it’s nice to see the obligatory Alek appearance.
Alchemiist’s steady progression into the non-freeform final third is just as well handled, but the standout section of the set was a more conventional one. I might prefer the original PVC, but the transition from Ghost of Jupiter into Lost Soul’s remix is still top class and a worthy centrepiece to the set. Absolutely lovely stuff.
Both essential listens then, as is the entire podcast series so far.
Yet more release announcements, this time for the huge, freeform-only Lucky Lotus compilation, Before the Dawn. I can’t the only one who’s been hoping for something like from LL for a while now, and this is a high quality cross-faded preview. Also an impressive tracklist, with some veterans anchoring things in amongst the new faces and a lot of Japanese representation. I haven’t heard the full tracks yet, but going on this preview and others I’ve heard Kounta Kulture’s Cannibal Girl might be the most immediately promising. Definitely looking forward to a leisurely listen of the whole release, though.
The other good news is that the compilation will be released in little over a week via the LL bandcamp – the official date is 10th March.
Even though Dark Dimension’s been pretty sporadic for the past few years it has made a strong case to be the best harder, darker event in Tokyo since the end of NRGetic Romancer. The lineups have been hit and miss, but last year’s anniversary event was the strongest so far with Lab 4 appearing as guests.
April’s edition is going one better though – the surprise booking of Proteus makes this his first appearance in Tokyo for what must be about a decade. GULD will likely be adding some more NRG to the event to make it a proper reunion for the Romancer crowd.
I know, you’ve very likely heard all about this already. This post is a public service announcement for those not up to date with freeform on social media, as preorders are open for Substanced’s already legendary solo album. With the scene the way it is these days it’s impossible to guess how quickly the 300-copy run will last, but for such a long-awaited release it might be best to err on the safer side and order soon.
Respect aplenty to A.B and Stamina for taking on the release – preorders are open now on the Stamina site. No sign of a release date or even a tracklist yet, so that’ll also be the place to stay up to date on both.
As I’m danger of falling behind recent big announcements I’ll break with tradition and catch up with a few of the main ones in a single post. Good training for the hopefully regular appearance of some longer writing on the site this year, too.
Heading the post is the opening track from Proteus’ upcoming artist album. Rather than NRG or anything like it, instead this sounds very much like something that could have appeared on Platipus back in the day, which is of course high praise. The second track, Gute Nacht has also gone online and shows a more familiar darker style – if the previews maintain this standard then it’s going to be quite the release. Plus there’ll surely be some older-school, pacier tracks in there somewhere.
Possibly the biggest freeform announcement is the recent release of Future_Proof Sounds’ second compilation, a strong collection of tracks with Japanese representation from Hyphen and Kokomochi. Kokomochi’s If Not Machine has shades of ikaruga_nex and is a fine follow-up to Iron Sky.
We’ve also got another label entering the scene in the form of Skeny Tracks – it might lean towards melodic freeform and UK hardcore but the first release Retrofuture features a really impressive selection of newer artists from around the scene. Hyphen’s here of course, but watch out too for Sanaas’ Beastout.
Finally for now is an excellent hour of mixed tracks from BRK. Featuring a full tracklist of his own material plus a solitary remix, this is quality stuff and another clear step up for his productions. The collab tracks with GULD and NEON give the set some welcome variety, while Kaos Lodge is one of his strongest tracks for some time and a well-chosen finale.
Last year was much heavier on releases than we might have expected, resulting in a decent number of sets that tried blending old and new. Even if there were fewer ‘dark side’ DJs doing the rounds in 2017, there was a lot to enjoy and making these final choices was quite a challenge.
1. Shimotsukei – Future_Proof Sounds mix series 005
Shimotsukei has been single-handedly propping up the scene during its quieter spells – it wouldn’t have been that hard at all to pick a Shimo-only top 3. This set for Future_proof is my choice though, thanks to its more considered, ‘studio’ feel than her (still generally top class) twitch sessions. Some of the strongest Shimotsukei mixing of the year can be found here, as well as a quality structure that’s sparing enough with the melodies to make for a very welcome, darker set. Make sure to hang in there for a really excellent final third.
2. Solvynt – Lucky Lotus Online Electronic Music Festival 7
Most ambitious set of the year was definitely Solvynt’s Lucky Lotus submission, with the strongest tracklist you could possibly ask for. Melding some of the trickier tunes isn’t always successful here, but when it works, it really works. Perkele! into Shine remains the best transition I heard last year, and there are many other highlights to look out for.
3. Substanced – FINRG PODCAST 003
Third spot was a close-run thing, but in the end I went for Substanced’s masterclass in how to mix newer freeform with the old. Understandably heavy on his own, newer productions, the way they blend with a couple of classics is an encouraging reminder that the FINRG spirit is still very much intact. Some of the strongest mixing of the year, great cross-scene promotion, and hopefully a sign of things to come in 2018.
Another addition to the growing list of interesting BRK collabs, this one features UK freeform’s Eryk Orpheus. An unexpected combination of artists, and the clip is very promising – not sure about release info yet but it’s one to keep an eye on, for sure.
I also should have mentioned BRK’s Love Like This, a collab with very occasional producer NEON that definitely sounds like both had plenty of input during production. Featuring one of those never-ending hard dance breakdowns, the track makes very good use of it with a really nice drop.
Obviously a must-listen, FINRG’s second podcast is a very welcome, Carbon Based-selected look back at a few of the label’s finest tracks. Plenty of these are well over a decade old but have never been bettered – it’s fitting to hear them again just before FINRG’s 16th anniversary event next year.
The mixing’s as rock-solid as you’d expect, and this might also be the first time I’ve heard other artists’ tracks used in a CB set.
Although it goes without saying that Shimotsukei’s SoundCloud (and especially the recent artist mix series) should be a regular destination for all Horsers these days, I couldn’t let this one pass by without comment. The difficulty of mixing Alek Szahala’s tracks together might be one reason for so few Alek-only sets over the years, but this two-hour epic is a mighty impressive effort.
As with many of Shimotsukei’s streamed sets this was put together with very little planning, which immediately gives it an extra dose of ‘live’ energy. The drawback of that approach is fewer standout transitions – a shame as that’s something I was really looking forward to in a set of this importance. That’s not to there aren’t any, mind, and the set’s atmosphere is shifted around very skilfully from start to finish.
Nine out of ten freeform DJs would recommend starting an Alek set with Tigris, and why not? It’s still one of the very best intros of all time, with enough darkness and melody to link nicely with a variety of other tracks. Here it’s Invitation – a solid transition to start, but it’s not until Ihme Juttu – Ziggurat that the mixing really picks up. That’s quickly followed by what might be the transition of the set, as Mermaid unexpectedly moves into Ngarnuuk in one of those high bpm mixes that Shimotsukei is so good at.
From that point it’s more about the excellent selection than anything else. There are a few wobbles here and there, as Heaven N Hell and Comet Catcher clash, while the following melodic tracks aren’t always comfortable mixing into each other. Much better is the Lagash – Chimaera combo, an effective transition that doesn’t overdo things while nicely altering the atmosphere. Things are really rock solid from that point – Last of the Mohicans into Icy Clouds is one I enjoyed, before the manic finale that you surely knew was coming.
A couple of omissions aside, this is a wonderful set that covers all era of Alek in a very different style to his own live PAs, and (as if you needed one) a great primer on Alek’s sound.
I’ll hijack the post before I go – it’s actually been in the back of my mind for a while to do a new Alek mix (my second, strictly speaking, as my first-ever recorded freeform set in 2006 was Alek-only), and this might be the kick I need to finally give one a go next year…