Biscuits for… Beekeepers

This edition of the biscuits series includes a fresh selection of hive mind beats buzzing around your ear. If you want to keep up with all the editions of this podcast, search for sndlgc in the app of your choice or you can subscribe manually using this link.

I conceived of the Biscuits as a sort of rapid response tool. The idea was simple: to make themed electronic mixes with new tracks. I try to listen for a few tracks that hang together to my ear, and then start trolling new release listings for things that fit the developing theme.

That developing theme isn’t always easy to define—like trying to describe something you can touch but not see. This time around I was hearing something about dense, pulsating beats, but not necessarily four-to-the-floor. In these tracks, when you de-emphasize the traditional electronic elements—kick, snare, hi hat—other elements swell to fill the void: handclaps, toms, woodblocks, et al.

I’ve found it good to not have the idea overly defined. A path too narrow and I’d never collect the tracks as fast as I’d like, and it would be too… homogenous. Instead, the Beekeepers mix veers from the pummelling high tempos Oyeshack to the goofy footwork of Foodman to the laidback vibes of Dwart.

The unifying metaphor in my mind was this: these tracks could serve as soundtrack for an über-hip documentary about insect life. There was something about the way the dense, off-kilter clusters of percussion reminded me of swarms of bees coalescing into a suspended. heaving mound.

As with most all the Biscuits series, all these tracks are fresh, released (or reissued) in just the last six months, or so. Nearly all of them are things I found by digging—not acts I keep tabs on. They whizz by at a brisk pace: with 32 tracks in 80 minutes the average is two and half minutes. That’s all edited down from a total of three plus hours.

I hope you find something to dig into further. The podcast is loaded with chapters to let you know who’s who and links to find more. So here’s another helping of biscuits.

Shiken Hanzo: Khans of Takir
Bergonist: Conflict in Yemen
Osheyack: Untitled 6
Garies: Soda Springs
Nicolas Gaunin: Tumu Haari
Peverelist: Left Hand
Dauwd: Murmure Rouge (Mécanique Running mix)
The System: Vampirella
Isolated Lines: Trivium
Linkwood: Nae Drama
Toma Kami: Land of the Insane
Benoit B: Kimono
Grim Lusk: It’s My Nature
Gen Ludd: Marraskuu
Foodman: Percussion
Andrea Taeggi: Dinergy
Don’t DJ: Rag for Rudolf Rocker
Duckett: Magic Headlines Foul the Air
Randomer: Van Pelt
Boofy: Perfunktion
Ben Penn: Not Important
Palta & Ti: På Hovedet I Seng
Bambounou: Dernier Metro
Via Maris: CU2
Uwalmassa: Untitled no.6
Sin Falta: Diamonds
Dwart: Red Mambo (Impromptu)
Niagara: Siena
Arp: Folding Water
Inland / Julian Charrière: Up River
Beta Librae: Canis Major
Melly: Mineral Water

Biscuits for… Molasses Movers

My latest in the Biscuits for… series focuses entirely on dance tracks with undanceably low beats-per-minute. If you would like to subscribe to future editions of my podcast, you can search for sndlgc in the app of your choice, or add it manually with this link.

I've been obsessed with slow dance music for years now. Something about the inherent contradiction appeals. To clarify, I mean tracks within a techno dance style that are low BPM, nothing like what would be fitting for raising your would-be girlfriend over your head in a pond in the rain while practicing your routine. The fascination runs so deep, I've tried (and failed) at making a track or two myself. I'm not alone in this fascination. Just check out none other than Andrew Weatherall's recent output, compared to his bangin' techno or skittery drum-n-bass output of the 90s, it's downright lugubrious.

When you tune your ear to a particular concept—something broad but identifiable—how it seems like what you're looking for is suddenly in abundance. I don't flatter myself that I'm spotting a trend. More likely, It's just I'm suddenly tuned into a new frequency and am picking up on what I never noticed before. Whatever the reason, in 2018, I was suddenly stumbling over a wealth of slow motion disco.

Granted it's not all actually slow. Some of these tracks know how to trick your ear into hearing a rhythm slower than what's being played. You probably wouldn't dance to all of it, but each song is firmly from an electronic dance tradition. This ain't early 90s listenin' techno. 

As usual I've chopped it all down to its bare essentials. 30 songs sail by in 80s minutes. True to the Biscuits for series, all these songs are hot off the press—nearly all of them released in 2018, and some just weeks old.

So strap in and get ready to bust a (slow ass) move.

Chloé: Recall (instrumental)
Hi & Saberhägen: Parachute
La Frère: N8TTT
MTV: Snow Ball
Pinklunch: Other Side
Fango: Atena
Commodo: Leeroy
Etch: Defunkt Logic
Novo Line: Triad (33)
Jako Maron: Katangaz
Streetboxxer: Memory Man
Black Zone Myth Chant: Radio Romantica
Krikor Kouchian: Plomo o Plomo
Chromatics: Lady
Suba: Wayang no.8
Move D / Benjamin Brunn: Come In
Marc Romboy: l'Universe Étrange
Overmono: Pom
Heap: Tripper
Low Jack: Brass
Brainwaltzera: Kurzweil Dame (Eva Geist mix)
Masimiliano Pagliara: Small Town Life
Synkro: Automatic Response
Steven Rutter: Memories of You
Sign Libra: Mantodea vs Furcifer Pardalis
Boothroyd: Rinsed
Jonathan Fitoussi / Clemens Hourrière: Ice Tunnel
Happy Meals: Run Round
Dual Action: Cochi Loco
Mønic: Deep Summer (Burial mix)

Biscuits for… Drunken Bogglers

A collection of seasick bass music, lurching and loping into Fall. If you'd like to subscribe to future episodes of this podcast (and check out the back catalog of mixes) you can find sndlgc podcast editions in the iTunes store, or copy this link, to subscribe manually.

Why is Fall is so disorienting? Even in more temperate climes, it arrives abruptly. One day you abruptly have to bring your fragile plants inside while the trees explode into a fireworks display of foliage, almost overnight. It's dark before dinner without you noticing night's approach. You may try and fight it—refusing to believe winter is around the bend—but what felt like a steady climb in temperature since February has now tumbled over an apex into rapid descent. 

This seasonal whiplash made these tracks hang together as a whole to my ear. As Fall approached, I found myself drawn to bass-heavy productions with a lurch in their step. As if some part of the rhythm is drunk. Not just tipsy, either, we're talking embarrass-yourself-kind-of-drunk.

Sticking with the timely theme of the Biscuits for… series, I focused on brand new music. The vast majority of these songs were released in just the last 3-6 months. Hell, most of the artists are new to me, as well.

Once I have it in my ear what I'm searching for, I sift through new releases, mining for gems with the just right kind of unstable bass. With such a tangible sonic element, the resulting mix whipped up can be relatively style-agnostic. It pledges no fealty to any one sub-genre.

The loosed rhythms give the songs a gloomier demeanor. When some element in a track runs rampant and free, it's subconsciously unnerving, a touch menacing. Even when these tracks make to celebrate, they rejoice with a shadow of doubt. 

A dark mood perfectly suits this mix built for the darkening days. So, get ready to set your clocks back and stumble forward, unsteadily, with Biscuits for… Drunken Bogglers.

Powell: The Bust
FYI Chris: Captain's Patilla
Coki meets Trixx: Elevate
Nomine: Slip
Grey Branches: Bevel
Ossia: Tumult (Lurka mix)
Irazu: Shtamm (Regis remix)
Thomas Xu: Alottochewon
Shit & Shine: Deva-State Nineteen 3000
Herva: Afro-Sweep
Nídia Minaj: Biotheke
DJ Osom: Glued
Lanark Artefax: Hyphen to Splice
Bandshell: Polarizing Haircut
Beastie Respond: The Truth that Hides that There Is None
Orogon Pit: Osmic Frqncy
Mumdance & Logos: FFS
DJ Krush: No One Knows
Clouds: Rush In 2 Orbit (Skinnergate)
Spatial: Spin One Over Two
Pan Daijing: A Season in Hell
Palmbomen II: Disappointment Island
Golden Oriole: Approaching of the Disco Void
Bill Converse: Threshold
Echoplekz: Acrid Acid
Zuli: Foam Home
Ismael: Cross System
Sim Hutchins: Some Men (You) Just Want to Watch the World Burn
Nene Hatun: Altruism
Perc: Wax Apple

Biscuits for… Temporal Shifts

An 80 minute mix that swerves wildly across more than three decades of rough hewn, industrialized techno and synthwave pop. You can subscribe to sndlgc podcast editions by copying this link.

Moebius & Beerbohm: Subito
Factory Floor: Ya
Malraia!: Your Turn to Run (Fehlmann mix)
Crash Course in Science: Jump Over Barrels
Fad Gadget: For Whom the Bells Toll III
Cold Cave: Rue the Day
Suicide: Rain of Ruin
Prostitutes: Chandeliers Shake
Front 242: Sample D
Marie Davidson: Adieu au Dancefloor
CoH: I Feel Summer
Silver Apples: Nothing Matters
Pussy Mothers: Get from in Front of Me
Celldöd: Falska Gudar (Dub)
GH: Yorkshire Fog
The Neon Judgement: Fashion Party
Soft Cell: A Man Could Get Lost
Kraftwerk: Musique Non-Stop
Pet Shop Boys: One-Hit Wonder
Rainbow Arabia: Computerized Romance
Eat Lights Become Lights: Modular Living
Ryuichi Sakamoto: Relache
Gabi Delgado: Victim
Tolouse Low Trax: Make Friends
Henry Badowski: Anywhere Else
Ultravox!: Quiet Men
The Julie Ruin: Time Is Up
Succhiamo: Succhiamo
Forma: Sane Man
Mariah: Shinzo No Tobira
Josefin Öhrn + the Liberation: In Madrid

Everything that's old is new again—special thanks to the 4 R's: reissue, remix, reunite, and replicate. In Retromania, Simon Reynolds argues that pop music is in real danger of being overwhelmed not just by its past, but also an overly precious reverence for it. A cursory look at the surge in analogue-electronic-driven pop and the industrialized techno underground would seem to prove his point.

It's more than that—ever more obscure ephemera is being unearthed. Music that never had a proper release when it was made decades ago is getting marketed today; competing for ears with the more current. Artists who languished in obscurity are touring and recording again, trying to get their (previously denied) 15 minutes, today. New acts are revisiting old influences and dusting off outdated equipment. It's getting damnably hard to tell when any of it belongs.

Of course our experience of time is linear, so we tend to view art as a straight progression: moments of invention building on past innovations, always striving forward. This outlook drove the endless post-everything-ism of late 20th century. It's an attractive (if, tad vainglorious) concept: we've reached the end of rock, or modernism, or what-have-you and now we are pushing beyond to whatever's next.

I'm beginning to believe this is not how art operates. We often forget art is also a craft. Its history and tradition are not merely useful to it but are an integral aspect of it.  If art is solely about its craft it veers towards repertory. Alternately, we view the breaks with tradition and accepted forms as innovations, the great leaps forward. Between these two poles is the body: where the bulk of art we make, see, hear and experience, is.

These thoughts were spurred, in part, by the vast amount of music available to us today. Thanks to streaming services, we no longer need the funds to physically own every inch of musical history. This sort of access to our collective past (even the heritage of distant, foreign cultures) should have brought about the nuclear ear-pocalypse Simon Reynolds so fears. The weight of this access ought to crush all creativity. Increasingly though, I'm finding myself knocked sideways by what I'm hearing. Far from creativity imploding, the myth of art's linear progression, instead, is collapsing. These hybrids are crossbred out of time and place—and increasingly mysterious.  

I wanted this mix to capture some of these chaotic, big ideas. I chose synthpop and industrial music since its something, with a lifetime of listening, I feel I have enough perspective on to make effective. Amongst the 32 tracks are some great, archival obscurities, artists of the old guard making new material, vintage recordings getting remixed by their aesthetic grandchildren, and new bands revamping throwback styles and rewiring vintage gear. Hopefully, it's all so jumbled, you have a hard time telling which is which.

Biscuits for… Dog Days

A new mix of hot-off-the-presses techno, custom selected for the humid press of days.

I wanted a new, 'rapid response' podcast series. Most of these mixes simmer at least a year or more. I wanted an umbrella for something I could cobble together from what was sparking my interest at that particular moment. I also felt I needed a series to highlight electronic music. It represents a much larger share of my listening than my average podcast belies. 

Enter Biscuits for…
My goal with this periodic series is to capture a moment. Each mix will be suited to it's particular time by virtue of being made up of tracks that are grabbing my attention right then—whether that's driven by my own seasonal tastes or by emerging trends I feel like I'm spotting. Even more,  I hope to make it consist of mostly brand new, just-released music. The vast majority of tracks on this first edition came out only this summer. 

In particular, Biscuits for… Dog Days is targeting an end of summer haze: It's humid and soupy. There's visible heat distortion from the rapid evaporation of the latest summer shower from the asphalt. There's a heat advisory in effect and you don't want to move. It's not all slow motion: you have growing sense of panic that you'll be missing the height of the season, as it closes. You want to accept every backyard barbecue invite. Maybe you can squeeze in a day trip to the beach if it's too late for that island vacation you've been talking about. You want to catch one last outdoor music festival…

Those contradictory forces—lethargy and impetus—are the driving moods of this mix. I wanted to avoid the usual long crescendo electronic mixes so often follow, making it undulate a bit; speeding up and slowing down. This is also what I call a 'full circle' mix. It covers a lot of terrain but the ends connects to each other. If you set it on repeat, you can almost miss where it loops back to the start.

In all it's 30 songs in 80 minutes. All freshly picked. Chopped and mixed and ready to serve. 

T_A_M: Gang Faur
DJ Marfox: Tarraxo Everyday
Domenique Dumont: Le Basse et les Shakers
Jacek Sienkiewicz: Gone
Marek Hemmann: Bob
Fred und Luna: Geh Nie Zurück
Mark Barrott: Over at Dieter's Place
Linkwood: Hear the Sun
Mala featuring Colectivo Palenke: Zapateo
Wareika HIll Sounds: I & I Know Bunny (dub)
Mark Ernestus' Ndagga Ndagga Rhythm Force: Walo Walo (version)
Ploy: Footprints in Solid Rock
Mood Hut: Peace Out
Baleine 3000: Bird Call
Lemme Kno: Way (188 Krew mix)
SeekersInternational: SaturdayNightDrive
Max D: MJAX
John Roberts: Chlorine
Eugene Ward: Tectonic Effect (Group)
Oliver Coates: Bambi 2046
The Untouchables: Blackout
Dimitri Veimar: 6 Days
Head Technicican: Emerging
Kiyoko: Causeway
Javi Redondo: Sun Sign
Mr. Assister: Izma
Quentin SirJacq: Bodies
Don't DJ: Savanna Sundown
Bartosz Kruczynski: Post Tenebras Lux
Cass. & Wolf Müller: Applepie Dreams