Tevo Howard, The Age Of Compassion

[Buzzin’ Fly]


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Tevo Howard, much like his contemporaries Jus-Ed or Omar-S, often does whatever the hell he wants within his own self-contained ideological bubble. Hewing close to a classic Chicago style while using his own set of paints, his output is, while sometimes naggingly inconsistent, usually quite pretty. His latest EP, which arrives on Ben Watt’s Buzzin’ Fly label, continues with this inconsistency; I’m torn right down the middle with this one myself.

“The Age Of Compassion” has all the makings of a grand euphoric experience: a distinct, memorable melody that spills out in gorgeous silky streams, delectable warmth, and a smooth, chugging progression that makes seven minutes fly by. But there’s something troubling about the sounds that he uses: the track’s melody is played through chimes that sound way too “adult contemporary” for comfort. Think cheesy ’80s incidental film music, and not the nostalgic, evocative kind. On the “House Mix,” the gently tugging bass line and insistent arpeggio almost salvage the track, but on the beatless original the problem comes right to the fore, like the end credits to some terribly dated melodrama.

German weirdo-house producer Aera saves the day with his “Recompassion Mix,” severely pitch-bending the chimes and sanding off the smooth rounded corners. His shuffling rhythm section, powerful kick and labored bass line take the track in an entirely satisfying direction. Aera replaces the pastoral pastel of the original with a more assertive, powerful voice, as chords are drunkenly slurred and stuttering drums mercilessly chopped. Donnacha Costello’s “Rough Rub” lies somewhere in between, building up a satisfyingly chunky techno backbone that juggles the original in a nearly unrecognizable jumble. Unfortunately for Messrs Howard and Costello, the release quickly becomes all about Aera, whose adventurous and unconventional take acts as a pertinent reminder that the new producer is a must-watch in the outskirts of the Berlin house scene.

Spons  on March 4, 2011 at 9:00 AM

“Think cheesy ’80s incidental film music, the nostalgic, evocative kind.”

-fixed :)

No really, howard’s take in all its cheesy simplicity is the standout for me. both remixes are well done, but don’t grab me as the original does.

I’ll go watch some miami vice now…

Spons  on March 4, 2011 at 9:11 AM

I mean howards house mix :)

Nathan Drew Larsen  on March 4, 2011 at 11:04 AM

The original is a beautiful track. It hits me in the gut every time I hear it. And dance floors respond so beautifully to it. Once again I find myself defending Chicago machine music, which is an important part of the creative lifeblood of the house scene in this city right now. Tevo is expressing values through this music and it is important when writing about ANY process driven music to understand it. I encourage anyone who thinks this is a beautiful track to read this post, which provides the real context and an interesting story about the choice of sounds: http://www.whatpeopleplay.com/?redirect=/news_events/detail/2958
Tevo is an important musician and means a lot to this city and many other artists working here.

Nathan Drew Larsen  on March 4, 2011 at 11:06 AM

By original, I am actually referring to the “House Mix.” My mistake.

littlewhiteearbuds  on March 4, 2011 at 11:16 AM

While context is certainly valuable for helping to understand a track, should it be necessary to enjoy it? Few audiences will have the benefit of it.

Also worth noting this is a mostly positive review.

Anton  on March 4, 2011 at 1:02 PM

I enjoy some of Mr Howard’s work and I find this one enjoyable but not stellar. Compared with his other stuff it’s a bit dry and conservative for my tastes.

Andrew Ryce  on March 4, 2011 at 4:19 PM

I think it’s worth pointing out that this review is not an attack on Tevo Howard nor on Chicago music in any capacity. I think the track suffers in both its conception and execution, two immediately perceptive qualities which outweigh any story that might lie behind the song. It’s all well and good for the work to have an affecting or interesting origin story, but the judgment here is about the end product – the music – and not its birthing process.

mats  on March 5, 2011 at 8:53 AM

House mix is my favorite as well.

Spons  on March 6, 2011 at 10:14 AM

my comment also was not meant as an attack. Just shows the greatness of the remix as a means to get translate the ideas from tracks to different styles and audiences so many more can enjoy it who might have otherwise ignored them.

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