Forget Basanov and his Ten Walls, this year’s most enigmatic breakthrough artist is Fango (AKA Nicola Zanetti). Championed by the likes of Mano Le Tough and Michael Mayer, the latter recently describing him as the most insane Italian since Berlusconi, remarkably, the artist has just seven followers on RA (two of them being us) and when we approached him for an interview earlier this week responded with ‘Sorry but I have a problem, I can’t grant interviews… This order comes straight from the top. Sorry!’

Ooh a dark horse, we like him even more! Fango means ‘mud’ in Italian- specifically a type used to treat gout and rheumatism. His music may not be medicinal, but it definitely has magical qualities. However, his persona is still clear as mud.

It’s Le Tough we have to thank for enlightening us on this secretive Italian, dropping his brain-melting ‘Caballos’ at Loop in Newcastle, UK, on November 1st. It was one of those moments where we both looked sideways at each other and questioned whether or not it was really happening, dumbstruck by the ferocity of his intricate drum patterns.

This beast of a track takes us straight to dusty Turkish plains, and the image of a young boy, clutching the underbelly of a speeding Orient Express, the infectious drumming echoing the wheels on the tracks while the high-pitched yelps conjure images of the boy clinging on for dear life as the train hurtles towards its final destination. No surprise to find Fango is a drummer by trade – this is pure percussive genius!

Ever since, we haven’t been able to get enough of Fango’sbrilliant mind-scrambling productions, especially ‘N1’ (Despejado Mix) and ‘Wek’ his third release with the Peruvian Degustibus imprint, and a remix of Kölsch feat.Troels Abrahamsen ‘All That Matters’ that was released on Kompakt just last month.

Just as his evocative tracks cause our minds to roam and conjure up such intense (and let’s face it, ridiculous) scenes, now we drift through thoughts of who Fango really is. What does he look like? How did he end up making the switch from drumming to dance music? Why has the Italian emerged on a Peruvian label no less? He might as well be getting PR tips from Burial!

Alas, we’ve had to resign ourselves to imagining the answers while he remains as elusive and distant as a partner you confess your love to when they’re not ready to say it back. It’s time to stop playing in the mud Fango – we crave some clarity and there’s no doubt your music’s stellar reputation precedes you. (Lydia & Clare)

Check out his sounds on Soundcloud here

Buy his magic on Beatport here 


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Clare says, Lydia says #1: The Cure – A Forest (Of Norway cover)

One Aussie, one Brit, born seven years apart both with the same aggressive passion for music, but often approaching the appreciation of it from very different viewpoints thanks to their respective background (and Geordie Lydia’s penchant for ‘booting off’). Clare still can’t believe Lydia wasn’t across the shimmering prog and techno of King Unique, while Lydia is incredulous that Clare’s never heard of Chopstick & Johnjon. Must be a cultural thing. 

Nice find on Soundcloud with Of Norway giving away a cover version of The Cure’s ‘A Forest’ that will appear on their upcoming album ‘Accretion’ out on Connaisseur Recordings. This is the imprint that gifted us the stunning ‘Yellow Sky over Reykjavík’ from THOR, with Baikal’s remix featured in our very first Beating Off post last month ensuring the label is smack bang on our radar.

Lydia says: “You know what I love about Soundcloud? How something comes on after what you were listening to and sometimes it’s a BEAST. Dunno if I just love this because I LOVE The Cure and still have dreams or being a skinny moody blonde chick who can draw and feels like the world doesn’t ‘get’ her. No, actually I think it’s a pretty gorgeous interpretation of it. On listening to this version you’re a lot more likely to picture, well, a forest, or some beautiful landscape, than Robert Smith’s guylinered eyes boring into your soul (maybe it’s just me who gets that from the original…Did I mention I LOVE The Cure?).

“I also love the choice of track – Of Norway haven’t just chosen one of the more obvious tracks like ‘Friday I’m in Love’ or ‘Boys Don’t Cry’. Hopefully this new track will get people listening to Of Norway and keeping a close eye on Connaisseur Recordings… And also revisiting their old ‘Cure Selves’ and stunning tracks such as ‘Disintegration’ and ‘Pictures of You’.”


Clare says:  “Ahh this track! Y’see I’ve only become Cure literate in recent years and even now probably not that far beyond the likes of the more obvious ones like ‘Friday I’m in Love’ and ‘Close to Me’ – kinda shameful I know. Growing up I was too busy buying vinyl from fakesters Milli Vanilli, before trading it for flannies and a mild obsession with anything Courtney Love committed to tape a little later in my teenage years before the dance bug hit.

“My introduction to this first came via trance act Blank & Jones’ version back around 2002. They actually got Robert Smith to re-do his vocals, so as remake’s go it definitely had some credibility behind it. Check the video – the clip is totally embarrassing and super dated, but the track itself is pretty decent. I remember being super excited to see them play at Earthcore’s 10 Year Anniversary party that year, but instead I got all feral and ended up rolling around in mud.”

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Musical Crush #2: Good Guy Mikesh feat. Filburt – Place Of Love (MP Edit) [Ellum Audio]

Good Guy Mikesh Place of Love

We’ve lost our shit to this so many times, superlatives have basically become redundant. Although only released on Maceo Plex’s Ellum Audio last week, this pearl by Leipzig’s Good Guy Mikesh and Filburt has been giving us grins the size of watermelons since August when it first popped up in Maceo’s week 9 ENTER set thanks to a tidy edit from the man himself – although Lydia is quick to point out I was alarmingly blasé when she first played the recording of his set back to me, while her delight is undisputed (see picture below – Lydia captured having a moment of musical clarity to the track in question).

Lydia Beating off to Maceo Plex Ibiza

Since learning of its title when it featured on his recent Mixmag cover mount CD, those smiles have been turned into nostalgic weeps remembering the moment it all knocked us for a collective six at Amnesia’s closing party (and inspired a sit down in the process, no less).

Indeed, the combination of tension building synth lines running alongside beautiful strings that drop into a piano break so moving you’d be forgiven for thinking Thom Yorke had a hand it, lobs this record straight into classic territory. (Clare)

Buy it here on Beatport.

Buy the vinyl here on Juno (MP edit only, no original).

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What’s in a remix: Röyksopp vs Pachanga Boys

Pachanga-Boys-We-Are-Really-Sorry- index

Sometimes, it takes a remix for you to really ‘get’ a track. For that second artist to take control of it, climb inside it, fiddle with a few things and add their own edge before you find yourself making the right faces and heavyweight fist pumps. Often, thanks to the remix you’re not only exposed to a new take on something, but it can help your appreciation of the original increase tenfold.

Here we’re shining the spotlight on Scandinavian electronic duo Röyksopp and their 2012 hit ‘Running to the Sea’ featuring Susanne Sundfør. After originally being released exclusively in Norway, it soared to number one, and they (or their canny record label EMI Music Norway) obviously realised that the rest of the world and a selection of lucky artists from an array of genres deserved to hear and get their hands on it.

Released a couple of weeks ago on Dog Triumph there are seven remixes in total featuring the likes of Late Nite Tuff Guy, Aussie veteran DJ HMC, and Man Without Country, with all of them – save for the dubious ‘progressive house’ interpretation from Magnus N Timon adding depth to the gorgeous canvas Royksöpp created. There’s no doubt in my mind however, that the remix from Pachanga Boys is definitely the winner.

From the second the beat kicks in, you can feel it vibrating through your body, the pan pipes dancing shivers along your spine.  This is what you’d get if you turned the original gory story of The Little Mermaid into a musical score. The vocals, although used sparsely, hauntingly drift across the sound of the waves as the tide washes in and out. Then, heady electronica: the sound that really leaves this Mexican duo’s footprint all over this tune.  Just in case when this is played to a full dance floor there’s still someone not completely losing it, the meaningful piano chords in the fading moments are sure to turn even the most serious chin-stroker into a hands-up-head-down raver. Pachanga Boys have completely taken this track to the next level (what more could you expect from the creators of the epic ‘Time’?)

In this case, the remix has brought this track from a haunting beauty I was appreciative of to the forefront of my Favourite Tracks of the Moment.  It is essential that you find 12 minutes 14 seconds in your day to (preferably) lie down, shut your eyes and let the music pour over you. (Lydia)

Buy the remixes here on Beatport.

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Musical Crush #1: Eric Volta – Love Your Illusion [No.19 Music]

eric-volta love your illusion cover slick

This both had us going ‘whoooa’ uncontrollably when we first heard it, thus passing the unofficial litmus test. This is a world away from Volta’s more recent releases on Ellum Audio and Visionquest and sees the German born, London dwelling artist sharpen his claws to craft an absolute beast of a tune. There’s a really interesting soup of sounds at play here, from the warbling subtle touches of spaced-out acid and psychedelia, to the stone cold synths reminiscent of The Hacker, the track conjures an undeniable intergalactic vibe that only gets more delicious with the drop. Equal parts heady and dancefloor stomping, just how we like it! (Clare)

Buy here: http://www.beatport.com/release/eric-volta/1178765



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mario_basanov smaller

Wait, wait, wait… I can explain. Not THAT closet…

I first came across Mario Basanov when I saw he was supporting Tale Of US at Mint Club in Leeds. To be honest, I recognised the name, but with my head so heavily embedded in the dark yet hedonistic clouds of melodic melancholic techno, my heart belonging to Tale Of Us and Dixon, and labels like Life and Death and Innervisions at the moment, I assumed I must have bypassed him when I switched from house over to the dark side at some point this summer.

Then in a conversation with a friend over who he could book for his club in the coming months, I chimed in with ‘what about Ten Walls?’ After then suggesting Basanov purely as he was on my mind, he revealed to me, that they were, in fact… the SAME PERSON.

Basanov Press Shot

Then, imagine my excitement when I got the almost-chance to interview him for Pulse Radio before he played at Mint. Perfect opportunity to find out all the answers I was dying to know; what was the genesis of the project and how did he split himself creatively between his Basanov work and releases under the Ten Walls pseudonym?

Disappointingly, he pulled out of the interview, refusing to answer any questions about his alter ego OR himself, leaving me empty and frustrated. It was like I’d been given the key to the wardrobe in Narnia but the locks were changed the day before.

So Basanov, I ask you – why keep this so quiet?! I’ve spent the summer raving, face-scratching, screaming, and having countless moments of dancefloor clarity to Ten Walls’ tunes which have been hugely supported by music monsters such as Maceo Plex and Tale Of US themselves. ‘Gotham’ was arguably one of this season’s biggest tunes and even just hearing the chords of ‘Requiem’ makes me giddy and takes me right back to Ibiza. Memories of hearing these tracks on the Space Terrace remain in my mind like that old flame I took for granted and never realised I had until it was gone. Why, if you were responsible for such moments of epic melodic beauty almost worthy of ‘epic musical score’ title (check out Mongol, the second track on Ten Walls’ new EP out on Life and Death just below), would you keep this so firmly locked away?!

That being said, I hadn’t checked out the Lithuanian’s original sounds (his origin itself is an interesting fact – we’re struggling to think of ANY notable artists who’ve come from that part of the Baltics); it was definitely time to school myself and get digging – and Mario, the dark horse, has been responsible for some genuinely eargasmic moments, most notably a mix from July this year I simply cannot stop listening to!

This mix is genuinely one of the most gorgeous sets I’ve heard to date – he travels through genres like I travel through emotions listening to it. It’s perfect to listen to right at the end of an after party when it’s time to resign. Look out for 30 mins in when you won’t know where to put yourself because it’s just SO GOOD. This track (drumroll please) is ‘Transformation Aineli’ by Molisans Brothers, something that Maceo has rinsed all season but despite being a year old is tough as hell to shazam (we kept getting some underwhelming thing on Toolroom repeatedly until finally we struck gold) as the track itself is over 15 mins long and the part used in the mix is just past five minutes in, although it is worth listening to the whole thing. You’re welcome!

So, Mario, I beg of you. Open the closet! Let your alter ego, your second self, your other half, whatever, out into the open. And I promise you, with all the support you’ve already received and the huge appreciation you’re about to; you’ll feel better for it. (Lydia)

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Wait wait wait…I can explain.

I first heard ‘Walking on a Wire’ at Village Underground in London, when Henry dropped it as his opener on a chilly December evening in 2011. It was one of those ‘what-the-fuck-is-THIS-track’ moments when the entire dancefloor genuinely went batshit crazy.

A month later I was interviewing him in Barcelona for RA, which incidentally was the most illuminating three hour chat I’ve ever had with an artist and among other things he spoke openly about using LSD Therapy when mapping out creative concepts for new music projects.

Anyway, during our epic convo, the track naturally came up in conversation and Henry being the dude that he is, gave me a sneaky copy and I’ve been listening to it almost non-stop ever since, while the track remained unreleased this whole time.

Finally this little pearl has just been released on Edu Imbernon’s Eklektisch imprint and I couldn’t be happier for Henry. Unfortunately because he doesn’t quite fit into a digestible techno/house category (or gets dismissed as prog) he often doesn’t get the recognition or gigs one could argue he deserves, so this track risks not popping up on the enough people’s radar.

Make no mistake, it’s an absolute MONSTER and deserves to be huge.  Eight minutes of spacey, yet tension building grooves imbued with an undeniable ‘90s house spirit (complete with an understated vocal sample you’re sure you’ve heard before but haven’t – Henry swears so) and complimented by an elongated build up, then when it does pay off, is so dizzyingly good you’re totally lost as to whether screaming, dancing or a flurry of double fist-pumps is the most appropriate response.

I’ve lost count of the amount of times I’ve daydreamed about hearing this during one of those special Ibiza sunset moments or imagined it on Radio 1 as an Essential New Tune, genuinely believing it has all the right ingredients to be a track for the ages. If you compare me loving this track with my ex-boyfriends, then it’s my second longest relationship, so Henry a little bit gutted when we skyped last week you still haven’t asked me to move in with yet?! (Clare)

Buy this now if you know what’s good for you: http://www.beatport.com/track/walking-on-a-wire-original-mix/4878489

Read my feature with Henry Saiz on RA: http://www.residentadvisor.net/feature.aspx?1504




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