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.
Obviously I’d like to offer some huge apologies for cancelling the twitch stream at such short notice – and not even officially cancelling it here, as the couple of lines on Facebook were the very best I could manage at the time. Late on Saturday I managed to get some pretty severe food poisoning that put me completely out of action for a couple of days. An extra nice combo with the remnants of jetlag, as you can imagine…
Anyway, as the first set I’ve ever missed for any reason I’m pretty keen to make up for it ASAP. The plan is to reschedule for 10 days from now, once again at 19:00 JST. I’ll do some wider word-spreading nearer the day, but wanted to update everyone here first.
Before that I’ll be trying to catch up on a few things I’ve had planned, as well as continue with some minor and not-so-minor additions to the site. I’ve been thinking that it would be nice for TYFTH to do a better job of archiving and referencing info, both for Horsers and myself, so that’s something in the works alongside all these other posts I keep mentioning.
This would be another of those things that have been planned for an age, but what with 2017 being the first year without a club set since 2008 it’s probably about time to spring into action. Even if Shimotsukei levels of activity are a bit unlikely, I’ll be aiming for at least one set a month, starting in January. Part of the thinking behind it is to keep me match fit for any sets next year, but also just to get me back into the swing of planning event-style mixes more regularly.
Right now I’m away from TYFTH Towers, but once I return to Japan there’ll be some action on what are usually the end-of-year posts. January will tentatively see the twitch stream, the 2017 top mixes (and hopefully tracks), along with a couple of other things that have been delayed for a while. And while 2017 wasn’t the easiest time for all sorts of reasons, TYFTH will definitely be a bit more active come the new year.
If you’re in the market for some melodic freeform then Nonaka+Chin’s FutureProof Sounds set might be a good one to check out. I often think of Nonaka as the Midas of the Japanese scene – his mixing level, thoughtful selection and taste for the Finnish sound alongside the UK freeform means there’s always something to enjoy.
This one is excellently mixed with some nicely considered transitions, and even if there’s a lot of UK freeform that I can’t name (not laziness, there’s actually no tracklist here) the set is also a fine showcase of Japanese tracks with artists from ikaruga_nex to Hyphen, via Alabaster’s Galaxy. I found myself wishing for some darker sounds but that’s clearly not what the set is aiming for – instead this is the place for some well-selected melodic highlights of the current scene.
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…
Who’d have thought that it would end up being difficult to keep track of new freeform releases in 2017? Electronica Exposed’s 15th anniversary is one of the biggest, and an essential buy.
Happily, this landmark for one of the most important labels of them all has as wide ranging and high quality a tracklist as you’d hope. Most of the UK freeform tracks have a nicely acidic, old school feel to them, while there are some real heavyweights on the Finnish side – remixes of Cyclone and Harder Than U Think, along with Alchemiist’s rework of Can U See Now are all unmissable.
I really wasn’t expecting this – a tribute to Buzzmasta that well and truly does justice to his varied sound, as well bringing some deserved attention to one of the most important names in the Tokyo hardcore scene. Once again we’ve got Shimotsukei to thank, which of course means impressive mixing and plenty of obscurities in the tracklist.
Those familiar with Buzz’s back catalogue will know that he covered the full hardcore spectrum in his productions, nicely reflected here in a mix that goes all the way from happy hardcore to Full Circle freeform anthems. I was expecting Shoreline as the opener, but after that almost every other track (at least in the first half) was something new to me – I always loved how Buzzmasta hardcore had far more of the 90s spirit about it than most of the UK hardcore you hear these days, and the ‘happier’ section of this set is just what I was hoping for.
One of my favourite tracks, For Action, links very nicely with Sing to Me, effectively introducing a harder final third that brings back plenty of memories of Buzzmasta and Yousuke at NRGetic Romancer. Shimotsukei pulls out all the stops on the section, finding some lovely transitions to keep things pacy – Equinox into Euphonica is especially nice. Most will know that Full Circle tracks were also Buzzmasta-produced with suggestions from Yousuke and Cogi – the hyperactive (and lengthy) filtered sequences in Gate Crasher and Halcyon are good examples, and both thanks to Cogi’s cajoling. The Full Circle material is also an impressive example of his range, then, with Alchemy perhaps my favourite track that finds a comfortable spot between the two extremes.
Even putting aside the emotional aspect this is an excellent Shimotsukei set, but as a tribute to one of the kindest, most genuinely nice guys in the Japanese scene it’s even more special. I’m sure that Buzz himself would have absolutely loved this one.
I’m ever so late with this one, but as it’s hard to keep up with Shimotsukei’s mix-posting schedule there might well be some who missed her excellent tribute to Lunch. As the founder of Tokyo Hardcore Construction it’s not overstating things to say that there wouldn’t be much of a gabber scene here without Lunch’s music and events.
Shimotsukei’s set does a fine job of representing Lunch’s sounds (and even sourcing them in the first place), running through his final tracks on Pure Existence as well as far earlier work and some big THC anthems like Oldskool Terrorist (one of my personal favourites) and Hardcore Ravers Motherfucker. The mixing is also top drawer with some interesting, longer transitions that you wouldn’t often hear at THC – such was Lunch’s (justified) confidence in his timing he would usually play the next track with both faders at max volume from the very start.
More than any other recent set, this brings back all sorts of memories of the Tokyo harder scene of years past, but even without the nostalgia element it’ll be pretty hard for newcomers to resist melodies as manic and catchy as these.