Deep House
FEEDBACK (off Beatport website) http://www.beatport.com/release/what-they-say/281831
http://www.residentadvisor.net/review-view.aspx?id=8300
Maya Jane Coles recently topped RA's October 50 with "What They Say," a definitive arrival for the 22-year-old London producer who was until recently something of a dark horse. She has a respectable catalog of dusky, brittle tech house going back two years, mostly on the labels Dogmatik and 1trax; you can hear her working out her vision in those tracks, carving her own particular stamp out of familiar materials—finely whittled digital production, rolling sub bass, broad strokes of sampled voice, dubby chord stabs, detuned keys.
It's not hard to see why "What They Say" has been her biggest success so far; the descending organ riff, almost an acid house motif, gives it an anthemic quality, but with restraint—buffed and blurred, with a brushed-steel finish. The "D'you know" vocal offers just as much hook as it needs to, while another voice in the background (Tracey Chapman?) lends a deeper, more melancholic sensibility. There are a lot of possible reasons it works as well as it does; I'd put my money on the way the organ's descending spiral works against the upturned vocal melodies, but that's all academic. What's certain is that the trebly, trembling synth that enters halfway opens up yet another dimension in the track, a masterstroke that completes the whole thing.
Deep House, Indie & Alternative
REVIEW - YOUR MUSIC RAIDAR http://www.yourmusicradar.com/florence-the-machine-spectrum-maya-jane-coles-remix/
Now if you know us, you will know that we are MASSIVE fans of Maya Jane Coles and everything she puts her magic touch on. Well, we heard this mix a month or so back in a sneak preview format and we very excited to hear it. But in the true form of YMR, we can’t bring it to you in a post without some audio for you to get your fix.
This mix is as lo-fi and downbeat as you’ll get for a Florence & The Machine track and it is simply sensational. It’s a sation for the senses!!! It’s definitely an essential listen for YMR and it should be for you too!!!
Deep house
ALBUM - DJ KICKS
http://www.residentadvisor.net/review-view.aspx?id=10794
Even in the inhumanly fast-paced world of dance music, it's hard to see Londoner Maya Jane Coles' rise as anything but meteoric, from releasing catchy house tunes on French label Real Tone to helming the BBC Essential Mix and remixing MK for Defected less than a year later. The widespread attraction to her own tracks is obvious: sprightly melodies, springy basslines, a knack for catchy vocal hooks (often her own), there's a sensual playfulness that comes across just as well in her DJing. Her brand of house is a smart blend of deep, tech, retro and eminently melodic, a logical meeting point between growing juggernauts like Crosstown Rebels, Hot Creations and Hypercolour. Her turn at the DJ-Kicks series—her first commercial mix CD—is a confident showing as agreeable and accessible as it is distinctive.
The one thing you can't deny about Coles' music is its unerring penchant for earworms, and her DJing is no different: almost every single track here contains some sort of vocal hook, whether it's the usual melange of syllabic soundbites (her own jaunty exclusive "Not Listening") or more elaborate full vocals (Bozzwell's wounded "In My Cocoon"). It rarely feels crowded, however, and Coles' careful grip on her watercolour brush means the splotches of colour and melody are spaced out by a gently ebbing, bubbling groove that gives way at all the right times. Her blends are the kind that bestow tracks with genuinely new and unseen dimensions—take the mix's opening stretch, where Jimmy Edgar's barebones remix of Kris Wadsworth's modern classic "Mainline" provides Chasing Kurt's slightly anemic "Money" with a chugging oomph that neither track carries by itself, propelling the mix from its earliest moments into a solidly bumping plateau.
Despite the inherent approachability of Coles' work, she's not afraid to get a little weird. Phil Kieran's "Never Believed" throws psych rock guitars into the mix, Caribou's remix of "It's A Crime" drops everything for a few bars before exploding into acid spurts and the mix's last third is a schizophrenic tour through frantic mood swings, settling down with Claro Intelecto. But as ever with Coles, her own idiosyncrasies are her strongest attribute, and the mix takes a turn into metallic dubstep with the top-heavy "Meant to Be," which throws the trajectory into a tailspin before things re-collect almost effortlessly with Zenker Brothers' "Berg 10." Combining dubstep with techno isn't anything new, but the way Coles' throws it in so briefly only to duck back into 'regular' mode is a sly and irreverent nod to the variety she's already proven capable of so early in her career.
Much like Scuba's instalment last year did with "bass music," Maya Jane Coles' turn here is a kaleidoscopic display of house music varietals united by a single but indefinable vibe. Coles isn't concerned with exclusivity, nor staying particularly up to date with brand new tracks, and she doesn't need to be—her mixing carries enough personality to make it distinctive without any of that contextual baggage. It's not a particularly flashy or technically thrilling mix, it's just one of the UK's most intriguing young DJs at the peak of her powers, a well-timed snapshot of a burgeoning big name.
http://www.laptoprockers.eu/music/p1/review-dj-kicks-maya-jane-coles/
The DJ Kicks mix by Maya Jane Coles takes you on a lovely & laidback Spring flavored journey - hinting to a sunny Summer yet to come, but not without a bit of Winter sting and frostbite here and there.
After the laid back warm groove on opening tracks by Deft and Kris Wadsworth, a few housey vocal tracks take you to an early dancefloor mood. Chasing Kurt's Money and Bozzwell'sCocoon (great twisted voice effect) keep you happy there. After a brief touch of Africa in Larse´s Karoo you return to a lovely early 90´s groove by Milscot (Angela Sheik vocal): All Alone.
Adam Stacks and Phil Kieran show you some different angles but keep the funky flow going just as Sigward enters with Nuerd. The pace goes up a bit and Maya Jane Coles' own Not Listeningtakes you into a more dark mood: the more square and electronic, somewhat less housey section of the mix. Virgo Four and Roberto Bardini introduce some techno flavor, with Tripmastaz and Standard Fair taking you back to the funkier groove. Mix section three takes off now, with moody broken beat tracks by Nocturnal Sunshine and Zenker Bros, a haunting Last Magpie (No More Stories), Gerry Read'sRoomland - more of a soundscape really - when T. Williams pours some acid into the mix (Analog Tour).
After the laid back warm groove on opening tracks by Deft and Kris Wadsworth, a few housey vocal tracks take you to an early dancefloor mood. Chasing Kurt's Money and Bozzwell'sCocoon (great twisted voice effect) keep you happy there. After a brief touch of Africa in Larse´s Karoo you return to a lovely early 90´s groove by Milscot (Angela Sheik vocal): All Alone.
Adam Stacks and Phil Kieran show you some different angles but keep the funky flow going just as Sigward enters with Nuerd. The pace goes up a bit and Maya Jane Coles' own Not Listeningtakes you into a more dark mood: the more square and electronic, somewhat less housey section of the mix. Virgo Four and Roberto Bardini introduce some techno flavor, with Tripmastaz and Standard Fair taking you back to the funkier groove. Mix section three takes off now, with moody broken beat tracks by Nocturnal Sunshine and Zenker Bros, a haunting Last Magpie (No More Stories), Gerry Read'sRoomland - more of a soundscape really - when T. Williams pours some acid into the mix (Analog Tour).
Returning to a four to the floor beat, Coles keeps the end section in high-tech spheres through Marcel Dettmann and Claro Intelecto leaving the funk behind.
Exploring 71 minutes of cross-over moods and tracks, Maya Jane Coles delivers a mix album that gives you a good insight in a range of different styles. Her DJ-Kicks stays sort of laid back throughout the mix - it doesn't really turn loose anywhere (no smashing end track) - and might be a bit too diverse for some. Quite a few smooth and interesting tracks however, put together in a somewhat surprising sequence. Nice one!
Exploring 71 minutes of cross-over moods and tracks, Maya Jane Coles delivers a mix album that gives you a good insight in a range of different styles. Her DJ-Kicks stays sort of laid back throughout the mix - it doesn't really turn loose anywhere (no smashing end track) - and might be a bit too diverse for some. Quite a few smooth and interesting tracks however, put together in a somewhat surprising sequence. Nice one!
No comments:
Post a Comment