The Intersection: This Ain't Chicago

Various Artists

This Ain't Chicago (Strut Records; 2012)

I guess it's probably fitting to discuss a dance record on Friday. Usually club night for the younger generation. What's not common is to be reading about it on JazzWrap. Well that's because every once in awhile I like to kick one into the terraces.


So drifting back into my youth came the new compilation, This Ain't Chicago guided by the stealth hand of DJ Richard Sen. And it is killer education into the early roots of the UK House scene. This collection isn't out until July 10th, but I couldn't hold back talking about it.

While everyone may know my affinity for Detroit and Chicago dance music and its subsequent effect on the UK (in particular A Guy Called Gerald); you may not know or remember the majority of stellar releases from the UK during the early years. We are talking mostly 12'' and maybe a few EPs. Sen has deftly compiled these into a smooth and cohesive document that is as enlightening as it is danceable.

Ability II drop an extended trance beat with "Pressure Dub" which features a pulsating bass, crunching synth patterns wrapped inside some beautifully looped vocals and hand claps. "Bang Bang, You're Mine," from Bang The Party comes crashing down sensually with what feels like a sample of New Order's "Thieves Like Us" hiding underneath (I'm not sure about that but that's what I felt). One of those late night tracks that should play work well during a live DJ set.

One of my favourite groups/artist during this period was Babyford. Here during his early period with a typical statement piece "Crashing" which is hypnotic and reverberates long after it's over. "Iron Orbit" and "1966" (by Static and M.D. Emm respectively), start a period of haunting house beats. Very electrifying and fast paced with pounding hand claps and drum effects. Excellent.

Rio Rhythm Band adds a Latin flavour to this collection. Their track "Cubba Jakkin'" has percussion layered over a furious yet fun-natured keyboard pattern and high whistles. Funky and jacked up for the floor.

With This Ain't Chicago, what Richard Sen has assembled is a stellar collection of UK house tracks that seriously stand the test of time. With a nice mixture of heavy beat tracks, vocals and dub, Sen curates a musical journey that moves with the night. This Ain't Chicago is a perfect and probably only way to get some of these gems without paying through the arse. But for the most part its a great education on what was happening as Detroit and Chicago began to influence it's counterparts across the way. Highly Recommended.

The Intersection: Alog

The Intersection is an ongoing feature on JazzWrap that looks at artists that have blended jazz, world and electronica in new and highly creative ways.

Alog (duo)

Unemployed (Rune Grammofon; 2011)
Espen Sommer Eide (percussion, trumpet, electronics)
Dag-Are Haugan (guitar, electronics)

The Norwegian duo, Alog have matured with each release. As they've grown, so have the sound techniques and dimensions of their recordings. Their fifth full-length release, Unemployed, is a major milestone in the duo's development.


Built on pure improvisation, Alog looked to create a soundscape on the spot as opposed to starting with one theme. Yes the ideas how to start the first few notes or lines was always a part of the mix but after that it was up to the participants to decide where to go next.

Unemployed is a testament to the free flowing aesthetics of European music and what it means to go beyond genres. In some ways this is almost the most alternative and accessible record to date by the group. The album features collaborations with a variety of fellow Norwegian musicians including Sigbjorn Apeland (of 1982 Trio). "Orgosolo" features the duo's signature harmonic drones but with the inclusion of what feel like deep horns and pulsating organ-like movements, Alog have created a haunting operatic and transcendent hymn.


"Unemployed" revolves around a looping hypnotic gallop that would make A Guy Called Gerald and Aphex Twin very excited. It's a wintry mix of loops, clangs, claps and effects that swirl into a melody. It gave me memories of Bruce Gilbert's (of Wire) side project He Said. Dreamy and evolving work that leads the listener along a journey beyond sound borders.

"Last Day At The Assembly Line" could easily be part of a Throbbing Gristle, Cabaret Voltaire or Test Department album. There are "found sounds," electronics and drums that blend into a tribal cacophony that sounds like a cello/fiddle ensemble gone mad. The piece later gives way to a melodic drone and the buzzsaw of cacophony is laid underneath. Only to return towards the end with a vengeance along with a number of counterpoints. "Bomlo Brenn Om Natta" featuring warped vocals by Dutch poet, Jaap Blank, is rhythmic and intense like some of the better work by Moby. Not danceable but an intense beautiful listen.

"Januar" is a return to their previous work. It's beautiful ghostly atmospherics have a repetitive nature that are dreamlike and pull you further into the speakers to Alog's own "third world." Again, Alog have moved a little bit further than their contemporaries with ideas that seem so remote but yet feel deeply personal and accessible. Unemployed is sublime and highly recommended.