Griz’ label, All Good Records, flexes it’s A&R muscles with the first in a new series of free compilations entitled “Freshly Baked Vol. 1.” Our good buddy Falcon Punch sent over his contribution earlier today and we must say, it certainly isÂ lovely. “Cream” is a smooth, laid back affair that grabs the listener with its funky percussion, acid lines andÂ silky guitar riffs… a combination thatÂ certainly live’s up to the track title.
For some, there has been a bubble of wonder about a young project simply called PIXELATED. Over the last couple of years, this group has reared it’s head with a diverse selection of offerings that began with a very well received remix for LA’s lords of dreamy, day-time disco, Poolside. Following up that with remix’s for My Morning Jacket’s Jim James, collaborations with Denver’s Falcon Punch as well as bootleg outings on Florida’s Whiskey Disco imprint, this mysterious combo seem to have their hands in lot of pots and friends in wide circles.
It’s at this time that Discobelle has the honor of removing the mask that is PIXELATED and revealing it’s true identity. Comprised of long time friends and band mates, Craig Pfunder and Mark Palgy, I caught up with the production duo last weekend for a short interview on the eve of their sophomore remix for obvious chummy’s, Poolside.
Craig : Pixelated was born one night in one of our old favorite bars in Brooklyn called Tandem(RIP). We were having cocktails and i brought the idea to Mark that we should start a completely anonymous project and just put it out there. We thought it would be a great experiment to see if people would be able to gravitate towards music that didnâ€™t really have a face or history. We didnâ€™t want anyone to judge the work based on any preconceptions of our musical pastsâ€¦either positively or negatively. We felt like weâ€™d be able to achieve a sense of artistic freedom and we were right. For the past 3-4 years weâ€™ve been putting remixes and edits out at our own pace with nothing but the joy of making music as a focus. No making deadlines for labels. No stress of major career decisions. No worry of trying to get booked in the coolest rooms. We just find a projectâ€¦ sit down and write. Itâ€™s been truly liberating to work this way.
What are your roles in the group, what inspires you and how did you come to work together?
Craig :Well we both share the writing duties. There is a lot of actual real guitar, bass, piano, and percussion being played and we both handle those. Iâ€™m in the engineerâ€™s chair dealing with the recording and mixing. Marks great at catching things I miss so Iâ€™m glad iâ€™ve got him behind me to keep me in check with that stuff.
Mark: Inspirationally weâ€™ve been drawing from some of the slower tempo stuff lately and thereâ€™s an obvious French influence in almost everything we do. Weâ€™re not actually very in touch with whatâ€™s been going on trend wise. Kinda oblivious to a lot of it actually. We just write what we feel is right and natural. Trying to chase trends in dance music is something we stopped caring about a long time ago.
But, this isnâ€™t your first time working together? When was the first time?
Mark: HAH. I guess the first time we worked together was back when Craig had just moved to Louisville and I was still in high school. That must have been 1994-5? We had this band that was kinda post hardcore alternative whatever the hell you call it. That band pretty quickly dissolved and we kept playing together. Fell in love with the whole noise rock thing .. did that. Then we simultaneously fell in love with disco and house music. From then on we started a band that tried to integrate all the things we loved out of rock music and disco and house. That band was called VHS or Beta.
Wow, VHS or Beta! Yâ€™all had some pretty big hits back in the early and mid 2000sâ€¦ can you tell us about that and your experience in the group?
Craig: Ya know, VHS was always a funny thing. We felt like we were always a step too early or a step too late. Timing never felt on our side. When we wrote “LE FUNK” and toured that recordâ€¦ indie rock kids hadnâ€™t accepted dance music yet. The early 2000â€™s were still a time when people were either RAVERS or ROCKERS and that bridge hadnâ€™t been built yet. When we made “Night on Fire” that felt better timed but we got lumped into the whole 80â€™s revival scene when we thought there just so much more going on in that record than the pop singles that got big. That record was our first record on Astralwerks and we toured it for 2.5 years straight. What a blur!!! By the time “Bring on the Comets” came out, I think that music press wasn’t writing about bands like us anymore. Everyone had moved on to very intellectual bands… like whatever Pitchfork was championing that week. We were never a Pitchfork band and the mid to later 2000â€™s was a Pitchfork dominated era. We had fun touring, but we were traveling salesmen, trying to sell a product thatÂ people just didnâ€™t understand at the time. Now, everyone has that product and we look back and are like;” well damn!” When similarly minded bands like The Rapture, !!!, and The Faint gained success, it really helped break down the bridges between rock types and dance types. Ya know, we did 95% more with VHS than most bands ever get to do. Toured the world over, did all the giant festivals, quit our jobs and lived the dream for as long as we could. Iâ€™m proud of that band and what we accomplished.
So, what happened to VHS or Beta?
Craig : Time? We grew? I dunno. After our latest record, “Diamonds and Death,” we kind of just toured it and were likeâ€¦ “see yaâ€™ll around!” We keep getting offers to play as a band and fans still ask why weâ€™re not making records and touring. I just think the only way Iâ€™d want to do another record or tour is if I truly felt i had something to say with that voice. I donâ€™t wanna just put something out there because it could make money or put a tour together just for money. Iâ€™d want to be able to get on stage every night and sell it and believe in what iâ€™m selling. It also doesnâ€™t help that the economics of recording and touring are astronomical. Who knows, weâ€™ve got ideas churning, but thereâ€™s nothing yet to report on the VHS end.
Can you tell us a bit about your remixes and how you connected with Poolside?
Craig: Jeff(ery Paradise, 1/2 of Poolside) is a homie. Like, an old friend from wayyyyy back when. I think we met at WMC in like 2003 when we played for the Astralwerks showcase with Royksopp. He was in The Calculators that eventually turned into the Rapture. Then he started Paradise Boys and hosted Frisco Disco and Blow up. Dude is a legend. We just always had a like minded approach to things and are interested in a lot of the same things.
Filip (Nikolic of Poolside) and i have also known each other for a very long time through music. IMA ROBOT was a band we felt connected with and at some point we did a remix for them. That was one of Mark and Iâ€™s earliest attempt at remixing anything. It sucked but learned it was something we could do and loved doing.
Mark: When we conceived PIXELATED, we just brainstormed about all the artists we knew and had made connections with. Poolside had a few strong tracks and were very buzzy. I asked those dudes if we could remix “Slow Down”Â even though it had been out for like a year. That was our first release and it kind of Â went viral overnight. Our next release was a remix for My Morning JacketÂ frontman, Jim James’ solo record. Weâ€™re super, super proud of that one. It did well, but i donâ€™t think itâ€™s made itâ€™s impact yet. I think like 5 years from now that track will find itâ€™s legs. Other tracks include a collaborationÂ Falcon Punch, a remix for Sam Sparro, an edit of Anita Baker thatâ€™s on the super awesome edit label Whiskey DiscoÂ and now, this newest Poolside single. We decided that our second Poolside remix would be a good time to kind of unveil our identities and tell the story. Weâ€™re just proud that weâ€™ve received a ton of support from blogs and other artists like Zimmer, Goldroom, and Tensnake. All without a back story. Just the music. So, mission accomplished.
Any future projects on the horizon? what can we expect from Pixelated in 2016 and beyond?
Craig: Well, I just went through a massive breakup and left NYC, but Mark is still there. Â Iâ€™ve landed back in Louisville, KY and have a lot of new projects down here producing and doing sessions,Â but weâ€™ve def got some projects underway. Our goal for the next year is to work on originals. Singers are always people weâ€™re looking for. Weâ€™re super open to more remixes and collabs. We just want to keep making music from a pure and positive place. I think itâ€™d be nice to DJ again as PIXELATED. We did soooo much djing together as VHS OR BETA DJS so it only makes sense to get back in that scene. I think weâ€™re both just happy we donâ€™t have to lie to anyone anymore about if weâ€™re doing music together or at all hahaha.
BrooklynÂ purveyorsÂ of vintage disco and funk, Razor-N-Tape, drop in for the latest installment of our exclusive mix series. Label heads, Aaron Dae & JKriv have made a strong name for themselves in the globalÂ edit scene with exceptionally curated output and featured releases from such luminaries as Dimitri From Paris, Late Night Tuff Guy, Frank Booker, Al Kent and many more. Their brand has grown over the years to include the sub-label’s, Razor-N-Tape Reserve, which focuses on more house-centric output, and Razor-N-Tape 45 which presses up left-field funk and hip-hop on delicious, 7″ wax.
Dive into their catalog and bolster your record collection by purchasing some Razor-N-Tape HERE.
Australia is known for its Sydney Opera House, Great Barrier Reef, the vast desert OutbackÂ and unique animal species including kangaroos and duck-billed platypuses; but is also known for its well-crafted music output and deep love for optimistic sensual tunes. This is the case here with the first release of a mysterious project called Ponzu Island, there is absolutely no info available on the artist, so let your ears judge without prejudice. Ponzu Island sounds like if Morgan Geist and Todd Terje took some acid and locked themselves in a room with a sea view, a synth, and a computer.
Here’s the premiere of the Deep & Sauvage remix by Trujillo of “Ponzu Logic,” the b-side of Super Koto, which has been also remixed by Andras Fox. Prepare to submerge on the hot wilderness of the Cosmic Caribe!
RobJamWebÂ drops a lovely packageÂ for 80s Child’s, Masterworks Music, with his “The Cosmic Soul EP.” Four, uptempo disco-house bumpers comprise the outing with a bevy of good vibes and catchy riffs like the anthemic, “Clap Your Hands To The Music” and The Emotions-tinged, “Like This.” “Lover’s Groove” takes things higher with euphoric moans and sunny strings while “Just A Little More” is a horn-drenched, disco roller. Pure dance-floor fire for any crowd that appreciates the boogie.
Bristol based crate digger, âˆ†dmin comes correct with his latest EP, “Flute Loops” for the Boogie Cafe imprint. Comprised of three dusty-grooved house choons, the “Flute Loops EP” is a lesson in sample archeology that pullsÂ together elements of latin, jazz and disco produce a psychedelic collage of slow-burning, dance-floor bravado. Kicking things off is the title track with it’s echoed vocal snips, janglely piano riffs and silky smooth bassline holding down the entirety of the a-side. Flip it over and you get my pick of the bunch, “No Problema,” a sleazed out latin affair with relentless Rhodes piano and an exceptional, percussion filled groove. Rounding things outÂ is “Drifting Away,” which relies on some spooky trumpet riffs thatÂ harken back to Miles Davis at his funkiest and most experimental.
Established in 2011, FINA Records has posistioned itself asÂ one of the most essential and respected house imprints of its time. Based in Leeds, UK and originally an offshoot of Ralph Lawsonâ€™s 2020 Vision, FINA is now under the sole ownership of DJ/producer Simon Morell, who has consistently built the labels reputation for quality and consistency with exceptional releases fromÂ Move D, Leif, Roberto Rodriguez, Cottam and Francis Inferno Orchestra.
While FINA undeniably releases a wide variety of music, there is a common thread that connects each release; a rich vein of funk and soul than lies at the heart of the label.Â â€œIâ€™m looking for originality, something that stands out from the normâ€ says Morell of his A&R policy. â€œDepth, warmth, funk: something I can play in years to come and still think that itâ€™s ace. I have zero interest in following the trends and signing stuff just because itâ€™s Beatport Top 10 fodder.â€
Their latest release comes from Cape Town, South Africa’sÂ Terrence Pearce with his gorgeous, “Last Night Lover EP.” Spanning four tracks and encompassing an bevyÂ of low-slung, subterranean house flavors, we open things up with the title track and it’s washy strings and rolling bassline. Next up is “Come On Ya,” with it’sÂ shuffling groove and deeplyÂ hypnotic chord work… a real winner. Flip it over to find “Taxi” which comes with an exceptional remix from Francis Inferno Orchestra who blends the heavy tribal rhythms of the original with some lovely, emotive pad sounds.
Earlier this year, theÂ FINA Records camp embarked on it’s latest endeavor with the new, sub-label operation of FINA WHITE, which takes aim at a slightly ‘rougher’ approach to it’s curation with heavy doses of crunchy, warehouse dancefloor vibes. Just today,Â FINA WHITE adds The Organ Grinder to it’s burgeoning stable of artists that is currently home to Barcelona’s Clip and the ever impressive, A1 Bassline. His “Daily Struggles EP” marks the young imprints third release and is available now on 12″ vinyl. The ep’s kicker is “Living In A Bottle,” a thumpy house number that utilizes some funky sample work courtesy of Gil Scott-Heron. Switching gears, we move to the B-side with “Taurus,” with it’s relentless bass swells and vintage, chord stabs. “To Digi,” closes things out on a softer note with it’s classic groove and sparkly percussion…. lovely stuff right here.
Fresh mix for all you Discobelle bunnies straight from the boss man himself, Sleazy McQueen. Based in Orlando, McQueen has been turning up the heat this year with impeccable releases on his flagship imprint, Whiskey Disco, which hosted tunes from Closed Paradise, BG Baarregaard, Andy Ash, Pontchartrain and has forthcoming slabs from Olivier Boogie and Jacques Renault. In addition, we saw the launch of his new outlet, Lovedancing, and his personal works surfacing on the esteemed Editor’s Kutz, Diggin’ Disco Deep and Smokecloud labels.
If all thisÂ hasn’t gotten you wet by now, then it’s time for you to stop reading and start jamming to this live, all vinyl set from Sleazy McQueen!