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Black Devil Disco Club one-take guitar riffs on top of tttttt arpeggiated synths. Let’s hear it for In Dub (Lo Recordings) not trying too hard. —JD In 2004, a few long-forgotten electronic disco tracks popped up s Various artists on 12-inch records on Aphex Twin’s tttttt label, and a massive buzz about a 5 Years of Get Physical shadowy ahead-of-its-time Italo (Get Physical) group from the late ’70s called Being one of the most commercially Black Devil ensued. It turned out successful new European that the genius music was the work underground-dance labels has put of French producer Bernard Fevre Get Physical on the radar of hip Joe working under various and Jane Clubber—and in the pseudonyms. But things got weird sights of the backlash contingent. again with 2006’s 28 After, an What better way to straighten out

Clubs album of acid-tinged boogie that the badmouths and hype the brand Fevre either pulled from the vault— than with a label retrospective? or just made to sound that way. He Disc one is crammed with remixes wouldn’t say which. While you’re of GP’s bona fide hits by high-profile sorting that out, consider the new —Clara Rose Thornton Solid Steel, Kentaro introduced dudes: Henrik Schwarz, the dub version of 28, aptly titled In himself as a turntablist with a Rapture, Moby. Sure, it’s Dub: It’s got six reworkings by the a bUMPS comically spacier, more party- accessible, but far from generic. Devil himself (Fevre?) plus six by tttttt startin’ trip-hop vibe than original Disc two’s exclusive tracks are übercool remixers Elitetechnique, bUMPS (Stones Throw) Japanese trip-hop master DJ Krush. slightly weirder, but tunes from In Flagranti and Quiet Village. Drummers from the seminal post- Japanese turntable phenomenon Elektrochemie and a cameo from —John Dugan rock rhythm machine Tortoise Kentaro’s debut, full-production LP Laurie Anderson have hooks.—JD (John McEntire, John Herndon and features guest-flows from Spank Dan Bitney) team up for a little Rock, The Pharcyde, New Flesh, experimental drum-breaks project Hifana, Little Tempo and Fat Jon. On that probably won’t remain little for Enter, early-’90s cerebralism meets long. bUMPS is a 23-track, purely current club-rap beats. The tightly instrumental, purely live (no constructed soundscapes have the turntables or sequencers), DJ- feel of a live performance on Mars oriented collection of raw, by Leaders of the New School—if passionate, crazed drumbeats. It they’d been spliced with booty seems natural that it ends up on genes from Baltimore.—CRT Stones Throw, home of the popular Super Duck Breaks record. bUMPS’ Krafty Kuts beats epitomize a new take on tttttt organic electronica, only they fly Fabriclive.34 (Fabric) even farther by spanning avant- Keeping the party up at all costs is f Aja West and Friends garde jazz, Brazilian/Latin the current mantra of the DJ; no tttttt f Boom Bip inflections, old-school British more chin-stroking nerd Total Recall 2012 (Mackrosoft LLC) tttttt conventions for today’s clubbers. Producer Aja West secured a name Sacchrilege EP (Lex) But fellas like Brighton, England’s melding funk-pop, beats and soul In 1993, jazz and funk sample-freak Krafty Kuts (Martin Reeves) have and leading his group the Bryan Hollon, a.k.a. Boom Bip, been living by that code for years. Mackrosoft to great heights during began showcasing instrumental hip- With shades of the big-beat boom, a successful ten-album tenure. hop and jazz-influenced beats on his Kuts delivers breaks—unusual old- West takes a creative detour with Cincinnati radio show Madstract. It school hip-hop cuts but with a this solo album, teaming up with a led to a 1996 debut EP Low End heavy dose of thumping U.K. dance. slew of both like-minded and Sequence, and a collaboration with It’s definitely an easy party but radically divergent comrades for a rapper Dose One, of Subtle fame, in hardly dumbed down for the surreal trip into the heart of dirty 1998. The following years saw a masses. —JD psychedelic R&B. Among others, string of LPs and remix albums , Parliament producer featuring notables such as Amon Lindstrøm & Prins Thomas Fred Wesley, Tobin, , Roger tttttt associate Skerik, and Herbie Waters and . His house, dub and ambient- Reinterpretations (eskimo Hancock collaborators Mike Clark newest offering is full of the manic, minimalism. A medley of mood recordings) and Paul Jackson join in on the kinetic, hyper-urban, dirty electro swings that fuse beautifully, the We’ve already sung the praises of multiple-instrument, vocoder-rich space-grit that surfaced during this tracks could work on Manchester this Norwegian space-disco outfit’s descent into strangeness. Tracks time. Sacchrilege grabs you with the dance floors, at an after-party at an self-titled album from 2006 and like “Point. Click. Drag. Drop.” and first few seconds of the opening Argentine lounge, looped behind everything they’ve touched as “Clouds Imitate Life” use a rich jazz track, “Snook Adis,” which could be next week’s raps or as abstract individuals. So it makes sense that platform and are sultry and soulful the theme music for a Rocky fight works on their own.—CRT we love the early tapes, too. Here, in their downtempo meandering, set in 2513. “Coogi Sweater” is the the duo reworks its debut EP from yet “2012 Suite” takes this jazz standout—a deliciously satiric ode DJ Kentaro 2005 with alternate versions and manipulation elsewhere with reverb to modern materialism gliding atop tttttt B-sides plus two unreleased tracks. and bells. The one downfall may be fractured basslines and the saucy Enter (Ninja Tune) It’s more moody than funky with its an excessive use of a wailing

vocals of Ali Lee. With 2005’s mix CD The Wheels of drowsy piano lines and laid-back, vocal.—CRT PHOTO: C o ur t esy f Ba c ks p in Pr m

76 Time Out Chicago June 14–20, 2007 timeoutCHICAGO.com