Welcome to the second edition of ‘All Gus No Fuss’. This month I take a listen to the latest release from Bristolian marvel Hodge in a serious contender for album of the year. I have been listening to one of the scenes most accomplished female artists and her latest release on Running Back, the supremely talented Dinky. Sally C’s production debut has turned a few heads, and last but not least, someone who I very much imagine to follow in the footsteps of Dinky, Roza Terenzi.
Hodge – Shadows In Blue – Houndstooth
Crafting an album is a tricky, challenging and potentially career defining moment an electronic based artist. It is an entirely different proposition to releasing fast, hard hitting belters in shorter formats. For the last 5 years, Jake Martin has been doing just that, putting out some mind bending records on labels such as Peach Discs, Livity Sound, Wisdom Teeth and Clone Basement Series under the name “Hodge”.
No single record similar, Hodge has been reworking, redefining and reinventing a range of genres, to create a truly unique and stunning sound of his own. “Shadows In Blue” is his take on an album, and is an excellent summary and representation of the unrivalled individualistic expression he is capable of. Because of the huge variety in his releases, and him not having tackled the album before I was unsure as to what to expect In all honesty.
The album feels thought out, curated masterfully. Every track perfectly timed, placed and weighted. Hodge throughout has mastered building an intense and emotional atmosphere, title track “Shadows in Blue” being the most notable example. I had a smile on my face throughout every second as this song builds and builds. With melodic strings, subtle chimes and otherworldly groans, the first kick thuds into life just past the half way point, and it continues building. This is a very special song, and the centre piece of the whole record.
Opening with throbbing notes in ‘Canopy Shy’ to the blissfully melodic tone of ‘The World Is New Again’, the album feel cinematic, like the tracks might fit the final episode of Game of Thrones, or grace your screens alongside a new sci-fi epic.
This almost orchestral and grandiose attempt at dance music really pays off. Combine this with Hodge’s reliably abstract ideas, and you will find yourself listening to a really unique album, and maybe Martin’s best work to date.
‘Lanacut’ never gets past second gear, chugging away to a beautifully echoed chime.
Hodge has previously produced some deep sounding techno, and has further mastered what can only be described as the British roller too. ‘Lanes’ never really feels like it gets past fourth gear, as it loops towards some finely tuned off beat drums, forget Game of Thrones finale, this dystopian trundle would be perfect for Westworld.
I wrote that parts of the album would suit a Hollywood space epic, maybe not? In the documentary “Keep Bristol Weird” by Boiler Room, Hodge explained: ‘Sci-fi gets confused a lot of the time…people just think immediately, space ships, space war, aliens. Well sci-fi isn’t that.”, as the camera pans through a black and white CCTV camera. Maybe the album would suit a remark of 1984 or Clockwork orange more appropriately than it would Star Trek or Space Oydessy.
‘Cutie’ is Hodge’s take on crunchy house, breaking down beautifully leaving only the stretch of a synth and hi-hat, before melodically marvelling back into life with a kick.
Last year fellow Bristolian Shanti Celeste released her first attempt at an album with “Tangerine”. A storming success, it perfectly encapsulated why the world of music is always excited about the music coming out of Bristol. Despite now residing in Berlin, you can hear the sounds of Bristol in her record and I’ve heard the thud of ‘Sesame’ tearing up a number of dance floors far beyond the Mum City. This felt like a breakthrough moment for Shanti Celeste, and it feels like an equally important moment for Hodge.
Martin has mastered such a variety of sounds on his debut album, with potential influences galore. You could compare “Cutie” to the productions of Bicep, “Ghost of Akina” to that of Overmono, and ‘Shadows in Blue’ to the music of Craig Richards.
Upon a second, third and fourth listen this album goes from interesting to unforgettable as you realise these comparisons are so beautifully uncanny and familiar yet spectacularly different. In the beauty of all these potential inspirations, which I’m sure stretch far beyond those mentioned, Hodge’s own sound becomes even more unique.
https://hodgebristol.bandcamp.com/album/shadows-in-blue
Sally C – Big Saldo’s Chunkers EP001
Back in what feels like my home town of Southampton, the Electronic Music Society headed by Josh Oliver have been regularly booking some of the scenes most exciting, emerging talent. Firstly, two summers ago, booking DJ Seinfeld and Kornel Kovacs to play at the Alternative Grad Ball Afterparty. The next Summer booking O’Flynn following his sensational debut album. The societies history of securing quality artists to play in a city not known for its electronic music must be commended and in November of last year Josh and SEMSU pulled out his most outrageous booking to date, Sally C.
Her infectious smile suitably matched her audacious records and helped develop an atmosphere inside the Switch Bunker often lacking from that commercially run space.
I first became aware of Sally when my wonderful friend Alice Cary interviewed her for her magazine; Slink. This magazine focuses on some of the most exciting women in the creative industries, and in that magazine Alice quoted Sally as saying “I just kept fucking digging, that’s what guided me and my style”. This dedication to old school rocking house music is evident in any one of Sally’s sets, however the divide between DJ and producer is one she has not crossed so far. Sally’s first release on her own label highlights her dedication to digging is ever so evident in her productions as well.
Opener OG Chunker’s first minutes could sound like a generic house tool, as the vocal sample slowly fades in before being filtered out again, it becomes clear this isn’t like any other house track. It drops rather unconventionally, the bass thudding in before the sample and other elements, which felt strange upon first listen and on reflection would really suit a festival or club sounds system better than it does my headphones.
Context and its role within music is something I have been exploring recently, all 3 of these tracks I would recommend listening to in a good pair of headphones or better but probably impossibly in a nightclub. Let’s Get This I feel more than anything is a track to signify the sensational start of Sally’s new label. As expected the debut E.P. is infectious and most importantly fun.
Turn That features my favourite of the rustic vocal samples; the welcoming kick drums alongside an irritable woman telling me to turn my music down brings back an uncomfortable sense of deja vu, and yet has its desired effect, making me turn it up.
I hadn’t been following Sally C closely but this record came as a brilliant surprise to me. Not in how it sounds, sonically it sounds just how I imagined it would, but in its timing.
The list of records I am waiting to hear on a huge rig is building, but Sally C has smoothly cut the queue and her chunkers are now near the top of the list.
https://sallyc.bandcamp.com/releases
Dinky – I Am Away – Running Back
Running Back are a titan of dance music, Gerd Janson has created a behemoth of a label, famous for some of the biggest and best house hits in recent memory. It seems like every other release is destined to blow up a dance floor. Krystal Klear, Dusky, Roman Flugel, DJ Tennis and Kink among others have all been busy putting out lavish and loud house music on Running Back. Delve a little deeper into the labels releases, looking past those which are played the most on the radio or in Ibiza, and you can unearth some genuine gems.
‘I Am Away’ is Dinky’s first release on her Running Back sister label Horizontal for over ten years and her return is as triumphant and psychedelic as expected. This is a record which ditches the current big room take on dance music Running Back has taken recently. This record isn’t designed for a big room or festival, its been beautifully worked and mixed for where house music belongs. In the club.
Dinky and the vocal side of her production are so unique and help her to create a style of house music unlike any other. Not only is her electronic production first class, but she has a proven track record or producing track’s featuring her elegant and muffled vocals.
I am Awayis a light and groovy breakbeat melody, with a subtle hint of acid, Dinky’s vocals hit you immediately. An ethereal anthem, this is perfect sunrise material.
Porkchops is what really grabbed my attention, captured my heart and evoked my eardrums. Many of the recent releases on Running Back have been big and weighty, ‘Porkchops’ feels light, airy and is a welcome change. Just as euphoric as Krystal Klear or Flugel’s productions but with a sense of genuine subtly.
This short but sweet record concludes with Do What You Say, touching on some intricate Italo elements, Dinky’s vocals are most prominent and profound here. An ode to a simpler time, this track feels like Dinky’s modern take on a style so prominent prior to the turn of the century.
This is a stunning record, balanced in so many ways and bringing a beaming smile to my face.
I am sat inside, at my desk, the sun scorching outside and this record has taken me to where I feel I should be. In a field, my eyes closed, with my friends and most importantly some excellent music playing to accompany it all.
https://dinkyhorizontal.bandcamp.com/album/i-am-away-horizontal
Roza Terenzi – Modern Bliss – Planet Euphorique
In 2018 Canadian sensation D.Tiffany released the first record on her new label alongside a relatively unknown Australian artist; Roza Terenzi. At this time Katie Campbell was a rather unassuming underground DJ and producer, not known or heard of by many. Two triumphant years on and Roza Terenzi returns to Planet Euthorique with a full length album. She has been exceptionally busy in those two years. A constant feature at some of Europe’s most renowned festivals Primavera and Dekmantel, Campbell has been paving her way as an established and effective club DJ. Not only has she been establishing herself as an excellent DJ with a very unique style and sound, she has been producing and releasing music on labels such as Klasse Wrecks, Salt mines and Dekmantel. Her production’s have been mind boggling, never two similar and always veering dramatically off piste in such an organised, calm and yet chaotic manner.
The anticipation for this record has been palpable, almost sold out on every corner of the internet, I finally managed to grab a copy and boy it is even more stellar and strong than I ever thought it could have been. The album touches on hints of house and all its variations, elements of electro, even jungle. Campbells take and interpretation on almost every genre related to dance music is her own and genuinely different. She so majestically is able to blend harder, tougher styles with more mellow and bouncy atmospheres to create a feeling from her production’s reminiscent of her high energy DJ sets. Jungle In the City the perfect example, electronic breaks are mixed with jungle highs and electro twangs. No part of the album stands still, as this tune draws to a close, a beautifully eclectic synth and vocal completely change its direction. What was an eerie journey suddenly feels firm and hopeful.
Before you’ve had yourself the chance to get comfortable and relaxed with the gentle opening to Elevate, the signature Roza thump sends you quickly off your seat. Terenzi’s take on dub techno feels light and sparkly, once again the track quickly changes mood from dark and dingy to uplifting and jazzy.
There are some confident collaborations on this album, most notably with Barcelona based, American born Ivy Barkakati on title track. Here are the first sprinkles of psychedelia on the record, as a beautifully trans-dimensional vocal turns a minimally acidic house track into a song capable of doing much more than making you dance, making you think. ‘Exactly where I need to be, my thoughts create reality’ feels even more applicable given the current status of most of the world’s ravers.
Campbell has dabbled in producing electro before with her track Electronique but Yo-Yo feels more refined, better crafted and shows just how far she has come in her career as a producer thus far. Just like a Yo-yo, this track is up and down quicker than you can realise. Leaping from the breaks of electro to the tingle of euphoric house.
That Track is THAT track. If there was one song I could recommend to someone not aware of the Terenzi sound it would be this one. The ever so familiar squelch of a synth, a fat and obnoxious kick drum and quiet almost ghetto vocal bring together what is the centre piece of the whole album.
It’s a truly magical sonic experience listening to this album, either as a diehard fan or those new to Roza Terenzi, you have to sit back in awe as she is capable of taking you on a journey like no other. Not even as the 40 or so minute long album develops, but in those little twists and turns in every track. Spiral begins slow and mysterious, and while its speed and intensity never changes, the emotional arrangement and atmosphere created slowly develops to that of a hopeful an weird ballad.
As this album draws to a close, I began to reflect. What was once a small, unassuming interest in the music of Roza Terenzi is now an addiction. This album has left me feeling so beautifully fulfilled and also craving more. The final track of the album sees Terenzi reunite with DJ Zozi, who she began her journey on Planet Euphorique with. The track is almost indescribable, breakbeat merged with tribal heavy house. But like everything else on this album, just as the listener feels comfortable, the track veers off into the infamous sunset, to a place you didn’t even know was possible.
That discomfort is what makes this album so excellent, at no point do you feel at home or at ease with what’s being played, and that isn’t a bad thing. Roza Terenzi’s first take on an album is a beautiful representation of her fun, fidgety sound.
https://planeteuphorique.bandcamp.com/album/modern-bliss
