#verbero

Around a month ago, the Ontario-based singer Jessy Lanza debuted for Hyperdub Records providing vocals for Ikonika’s track “Beach Mode (Keep It Simple)". Lest this was bare beginnings of Lanza’s work with the increasingly progressive UK dance label. “Kathy Lee” is the first single from Jessy’s debut LP, is co-produced by Jeremy Greenspan (of the Junior Boys). The LP is forthcoming on Hyperdub too.

From the tracks outset, rolling quavers and demi’s syncopated against Jessy’s porcelain, carefree vocals punctuate the melodic development and simple harmonies. The ascending springy bass ostinato has just enough lean not to compromise the works slight unpredictability. It also harks to Lanza’s affiliation to the UK bass-led culture, indicative of the pervasive influence the style is having on a myriad of artists as far as the US/Canada.

In a way, Lanza’s composition seems to be an evocative dialectic between harmonic perfection and raw feeling. Listening to this track multiple times forms a personal, visceral response; one the artist seemingly desires to create. The, perhaps unintentional, hero of the video ‘Jed the Dancing Guy’ plugged into his earphones and jamming through the charming streets of Hamilton, ON shows this.

The track exudes and procreates Jed’s confidence in the listener, encouraging enjoyment of the piece in its moment (indeed as Jessy reaches out on Twitter to say – ‘big ups to Jed’).

Lanza’s colourful timbres and tone are reminiscent of the breathy, controlled ability of vocalists like Conya Doss. Her vocal style will, naturally, draw comparison to Jessie Ware and upcoming ‘art-R&B’ artist Twigs. “Kathy Lee”, nonetheless, marks a clear differential pathway for Lanza inasmuch as the track does not smack of confessional motivation or abject need (just think of Ware’s lyrics: ‘I need your devotion’ / ‘You’ll be my night light’). Furthermore, the visuals do not crave to mesmerize by aesthetically and technically complex design as Twigs is often praised for.

‘Fell in love with you boy, whatcha gonna do’: Lanza’s message is simple, uncomplicated. This rough-readiness gives an edge and realism to this simple message and mood Lanza seeks to depict through the music.

Towards its close, the track develops into arpeggiated synth work, leaping through octaves  - a sound doubtlessly well housed on a Delilah track like “Go”.  Initially, this seems incongruous to the overall frame and subtle moodiness that Lanza so successfully depicts. Returning, however, to the familiarity of the swaying organ, the work re-acquaints itself with its underlying artifice – to perpetually challenge the listener’s ear and their physical response to rhythm.

Pop-electronica, Rhythm & Bass or mood groove, whichever; none-ever – it’s very promising. Get Pull My Hair Back, Lanza’s first full-length Hyperdub LP release on September 10th.

LQE005: Verbero by Lqe Collective on Mixcloud

As you may know, we've posted a bit about Alby Daniels here on vbo.

Absolutely loving this sound, a really inventive 'brought back' kind of feel that is idiosyncratic to Daniels' production technique.

Four Tet drop a new track that will challenge the best of subwoofers. Great sound

Enjoy -

For tonight's track, we give you a remix of everyone's favourite Four Tet.  This remix comes from Oliver Michael, and gives the Four Tet classic a house flavour.

This very special edition of our Verbero Exclusives feature sees us break out of the UK scene and chat with German producer/DJ Adam Stacks.  He has been tearing up the European tech house scene based from Mannheim for a while but he's gaining a more and more significant following in the UK day by day.  His brilliant track "Hey Love" has just been released on Maya Jane Coles' DJ Kicks compilation which can only help spread the word.  

Here's what he had to say...

You are known both as a producer and as a DJ. Which came first?

Producing came first. But as I’m producing electronic music it was just a logical consequence to start working as a DJ as well –which I’m enjoying a lot.

What is your production/DJ setup? 

At the moment I’m using Logic to produce my tracks. And when I’m on the turntables I’m supported by Traktor and timecode vinyl + X1 Controller.

Did you grow up listening to electronic music? If not how did you come to love 

it?

No, originally I was excited about hip hop music. That was the genre which inspired me when I was a kid. Especially because this kind of music was connected with breakdance and graffiti. At that time it felt to be a very creative way of life. But already back then I had some friends who went to techno parties. Sometimes they took me with them. After having joined them several times I started to enjoy this kind of music. So one thing led to another – finally the hip hop fan turned into a techno DJ and producer.

Anything upcoming we need to look out for?

In May 2012 my Label “Natuerlich Elektronisch“ will release an EP of the artist Botha Curtis which I contributed a remix to. Besides, a new Adam Stacks EP will be launched via the label “Katermukke” this year. Unfortunately I can’t tell you more about any further releases at the moment as they aren’t totally fixed yet.

Who are you listening to at the moment?

Currently I’m in the awesome position to be able to make music nearly every day. Consequently I’m “forced” to listen to my own stuff. But when I’m in my car I’m not determined to listen only to one type of music. I’m enjoying hip hop, reggae, jazz, soul and without any doubt electronic music. I’d say I generally like to listen to good sounds – no matter which genre they come from.

How much do you think producing and playing in Germany has influenced your sound? 

To be honest, I don’t have an answer to this question. When it comes to producing I don’t really let anything have a big impact on my work. I’m doing what I’m feeling at that particular moment without worrying too much what people around me are doing. In my opinion every producer should do what he or she believes in and has to listen to one’s heart. If the outcome is what the audience likes will be found out later. But I believe that every person should stick to one’s gut feeling. Nevertheless, to some extent every producer is influenced by his or her environment without even noticing it – for example when going to a club. But that’s just the way it is. Talking about DJing it’s similar in a way. I’m playing what I like – no matter how popular or famous the track might be. I’m buying my music according to my preferences not taking into account the track’s position in the charts. It happens quite regularly that I’m purchasing songs and afterwards realize that they’re from 2009. But it doesn’t worry me. Great music remains great music.

How do you think tech house and deep house are going to evolve over the next few years. Producers such as Maya Jane Coles are incorporating sounds from other genres into their house productions. Do you think garage and 2-step vibes are going to make their way into tech house grooves?

I don’t know if garage or 2-step in particular will have an influence on tech house grooves. But there seems to be a clear trend that various styles of music make their way into the tech house world. No matter if it will be garage, 2-step, soul, or rock – as for example done by “Butch – LSD 25”. I am curious to see which direction the tech house scene will develop towards.

If you could give one tip to up and coming producers/DJs, what would it be?

The recommendation I’d give to every newcomer: Give it some time and try to convince others with quality. It’s not desirable to become famous overnight. I appreciate healthy and steady growth. Do it step by step and everything else will fall into place.

Adam, thanks again for answering our questions and giving our readers a chance to see what makes you tick.  We look forward to hearing your upcoming releases and hopefully catching you live over the summer.  We will leave you with a couple of tracks we love!