The Intersection: Hercules And Love Affair

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.

Hercules And Love Affair (group)
DJ Kicks (!K7 Records; 2012)

Some how Andy Butler, founding member of the electronic outfit, Hercules and Love Affair, has perfectly blended disco/soul motifs from 80s and 90s house/soul into 21st Century modern dance music.

While their two studio albums have these influences as well elements that remind me of 80s outfits Quando Quango and Section 25 (and a looser extent, E.S.G.), their recent adventure into the K7 DJ Kicks series is a slightly different journey altogether.

This DJ mix collection is a wonderful and deeper look into the groups influences that helped build the modern twist that is now Hercules And Love Affair. The mix is well balanced concoction where past and present turn into the future-perfect. "Don't Keep Me Waiting" an underground classic by Mankind has a sultry Chic-like vocal and is layered with a four keyboard line that is forward-thinking for the dancefloor. Hercules And Love Affair's lone contribution to this collection, the sexy "Release Me" is filled with drums and late night vocals about letting love leave. Sweaty, sexy and romantic.

Fax Yourself's "Strut Your Techno Stuff" is a friendly reminder how playful and forceful house music can sometimes feel. Great samples, handclaps and dark basslines make this a killer piece no matter what time it is during your party. "Magojiro" by In Flagranti is weird soulful electronica with lots of subtle undertones. In the latter stages the piece warps into "A Bit Of Redemption" from Haze Factory with heavy thumping bass and psychotic synth patterns.

The DJ Kicks series is always a killer set of well chosen tunes that allow you a light insight of what artist are thinking. Hercules And Love Affair show that their DJ Kicks spans the dancefloor, the heart and the bedroom. This is a great collection and well worth checking out.

The Intersection: Outerattik

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.

Outerattik (electronics)

Attic (Self-produced; 2012)

Jamie Smith, aka Outerattik, is one of those rare finds that you go, "this is too cool, I have to tell all my friends." Well, I'm kinda of gonna do that.


A well focused EP in the form of Attic, introduces us to this Edinburgh, Scotland native. Attic delivers a vibe that is rich in jazztronica but also refreshing in the way that shines with vitality and soul.

"Nineties Man" while referencing the sound of early trip-hop also has a nice slice of 70s funk in form of a hammond B-3 sound layered over the drumbeat. Smith gives the piece some real soul and charm while also providing a calm background for the senses.

"Electro Funk #50" is a space age tingler that uses some great 80s videogame vibes to create a groovy futuristic soul that will have you bobbing your head but also intrigued by the simplicity and effectiveness of piece. This is a more subdued version compared to the original which laid on a heavy bass line that pounds right into chest with verve.

"Attic Faery," probably my favourite piece is the quiet sweeping centerpiece, that while delivering soft encompassing tones, is also quite romantic. It's got the epic qualities of Thievery Corporation blended with elegance of Tosca and soulfulness of Spacek. A standout and highly appropriate closing number.

With Attic, Outerattik have created an album that is raw, soothing and funky. Chilled out? Yes. But it's a downtempo groove that you'll want to keep coming back to. And hopefully a good sign of things to come from this young musician. Worth seeking out.

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.

The Intersection: Fania

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


Fania

Fania Records 1964 - 1980: The Original Sound Of Latin New York (Strut Records; 2011)

Various Artists

On this blistering hot afternoon in New York City what better music to be spinning than Fania. In the last few years there has been a resurgence of interest in the highly influential Latin rhythms of Fania Records. A plethora of releases have been reissued and unreleased recordings bubbled to the surface. All these can be extremely overwhelming, especially when you only have a brief knowledge of the label and some of its artists. The recently released Fania Records 1964-1980: The Original Sound Of Latin New York (Strut) is hands-down one the best compilations to represent the label and the artists with the respect and glamour it and they so richly deserve.

At a time well before the music industry started to accept Latin music as a viable source of income on the popular music side and well before Santana emerged on the scene, there was the Latin and Afro influence of Fania. The original creation of the now legendary clarinetist and bandleader, Johnny Pacheco, the label fused the interests of Spanish Harlem and the young vibe of the city into an infectious dancefloor groove that would influence countless artists to come. This compilation collects some of most important tracks spanning almost two decades. For many, you will recognize classics like Celia Cruz & Johnny Pacheco's monster groove of "Quimbra." This duo recorded a slew of records for the label and this was one of their most popular tunes. Cruz is in prime form and shows why she is considered the Queen of Latin music.

Johnny Pacheco's own "Dakar, Punto Final" has all the roots of salsa, merengue, charanga and other Latin sub-genres. It's hip-shaken' bass/percussion mixed with the cacophony of horns will make you want to throw an impromptu party after listening. Mongo Santamaria is featured here with the classic "O Mi Shango". Mongo Santamaria was already becoming a star on the jazz scene as a result of John Coltrane's rendition of "Afro Blue" a few years earlier. Along with artists such as Ruben Blades, Hector Lavoe, Joe Bataan and the great Willie Colon, Johnny Pacheco would later develop what most people may know these artists by--The Fania All-Stars. This massive collective performed around the world to insanely large audiences. This was the real spreading of the Latin vibe and would have a profound affect on jazz and world music from America to England to Africa.

Fania Records 1964-1980 is a real treasure trove of Latin classics spanning 2 discs (29 songs) but it is also a document of one of the most important labels and artists to come out of the New York City at the time. These artists influenced generations both in jazz, rock and world music. Their impact really can't be questioned or overstated. Even if you only know a small bit about Latin music you need to own this compilation. It's not just a history lesson its a party album to beat all party albums. And if you are a jazz fan its should be in your collection. Period. A real must have.