For LWE’s third year-end column, associate editor Chris Miller shines the spotlight on five artists who defined 2012.
For this third release on their SunkLo imprint, Joy Orbison and Boddika recruit Pearson Sound in a move that nearly crippled the internet’s hype machine upon its announcement.
01. Unknown artist, “Spotlight” (Pittsburgh Track Authority Remix) [Spotlight]
02. KiNK, “Hand Made” [Rush Hour Recordings]
03. The Black Madonna, “Exodus” [Stripped & Chewed]
04. Steve Kasper, “Unvexed Dub” [Uncanny Valley]
05. Awanto 3, “Pregnant” [Dekmantel]
06. Real Cool, “What About Our Weekend Adam?” [Geography Records]
07. Roman Flügel, “Girls With Status” [Live At Robert Johnson]
08. Joy Orbison, “Ellipsis” [Hinge Finger]
09. Outboxx, “Astro Girl” [Immerse Records]
10. Trevino, “Backtracking” [The Nothing Special]
For our second 2Q Report, Chris Miller showcases 10 mixes from 2012 that have stood out from the surfeit of free mixes on offer.
Finally pressed to wax and available to the masses in full, “Ellipsis” is as good as we thought it’d be, and it’s indicative of what makes Joy Orbison such a uniquely talented producer.
Todd Edwards hasn’t exactly been dormant over the years, but if there was ever a time for one of the leading proponents of what became U.K. garage to reassert their status then it is certainly now.
Being the recipient of the unholy amounts of hype the English press loves to dish out must be oddly flattering and scary as hell at the same time. Joy Orbison may well have felt both of those things when his debut release midway through 2009 was hailed as nothing short of sheer musical brilliance. It would be enough praise to potentially leave some producers forever trying to scale the heights of a bar set way too high for them from the outset. Joy Orbison, however, has shown that not only was he worthy of the attention he received (maybe save for quite so many superlatives) but he has more than enough chops to back up a blinding start with a well of equally impressive releases to follow. His remixes of Jose James’ “Blackmagic” and Four Tet’s “Love Cry” both showed that the producer could mine a wealth of melodies and crucial dance floor pressure, whilst his “J.Doe/BRKLN CLLN” twelve proved beyond doubt the original success of “Hyph Mngo/Wet Look” was more of a comma rather than an exclamation point in his career. “The Shrew Would Have Cushioned The Blow” then follows the familiar pathway of warm melodies and R’n'B vocal swatches that have thus far defined Joy Orbison tracks, though both of these elements are underpinned by an almost faultless production style propelling these fairly standard tropes towards the upper echelons of the genre.
Hype can be a funny thing. Why are some tracks hyped while others slide under the radar? For one of 2009′s most talked about tracks, look no further than “Hyph Mngo” (hype is even in the name, sort of). Forthcoming on one of the hottest labels around, canned by numerous DJs, and even the subject of an entire column on Pitchfork, the hype surround “Hyph Mngo” has been immense, to be sure. But does it measure up?