UK born beatsmith Gold Panda seems to be doing something very right. After releasing on Wichita and Various Production and remixing a wide range of popular artists including The Field, Bloc Party and Little Boots, Panda made his breakthrough with the short but ear-catching “Quitter’s Raga” on Make Mine. His blend of electronica/hip-hop sounds, which bounces between the stylistic poles of Caribou, Boards of Canada and Flying Lotus, has since found favor with Ghostly International which provides a home for his You – EP. The package is rounded out by a raft of remixes and digital exclusives.

“You” picks up where “Quitter’s Raga” left off, unleashing a torrent of chopped and stitched, helium pitched vocals that quiver above a cautious kick and clap combo. Pitting gruff drums against the yearning vocals slots the opening gambit in the same headspace as The Field taking on Flying Lotus — an aesthetically pleasing if not terribly inventive combination. It’s a good starting point for listeners who’ve not yet experienced Gold Panda without building much on his established sound. Instead he packs novelty into the hushed, almost techno track “Peaky Caps.” Here his percussion pops and clicks like a latter day dubstep track but is meshed with soft, faded chords. Plinky synth notes gradually nudge the track into more pastoral territory of sampled “mmm” vocals and almost nursery appropriate melodies, giving off a very reflective vibe that seems most inviting in solitude. The digital bonus track “Kill Yourself On A Beach” starts out promising, rolling sampled pitches off bumping rhythms, but soon loses some of its focus as rattling hand drums and kalimba melodies clamber into the frame. Had it been played more straightforward I wouldn’t be surprised if it made it onto the physical release.

Four producers are then given their chance to reshape “You” as they see fit. Relative newcomer Seams stays closest to the original in tone and construction, opting to swap the heavy drums for thinner snare patterns and chop off some of the dynamic range, but generally leaves “You” easily recognizable. Osborne’s remix offers something luxurious and familiar for the house heads: decked out in relaxed pads and Rhodes chords, it just barely references the sampled vocal line as even more compelling bass lines and evolving hi-hat patterns vie for audiences’ attention. On the digital end of things, Minotaur Shock’s rework is stuffed to the gills with chunky drums, bouncing kalimba notes, field samples and snatches of the vocal. At points it’s quite entertaining and other times it’s just overwhelming, which suggests with more judicious editing it could’ve been quite satisfying. Dam Mantle brings the EP to a close on a dubstep inspired tip, breaking the the original into an unstable maze of fleeting vocals and hyperactive percussion arrangements, all threaded together by whirs and beeps of a computer on the brink of overheating. The You – EP does a good job of making Gold Panda’s sound amenable to Ghostly’s broad audience in a variety of ways, even letting listeners choose what genre they prefer their Panda to be. We’ll see if other labels feel compelled to do the same.

[Specral Sound]

Osborne’s “Hovercrafting EP” picks up where his Spectral Sound-released debut album left off last year, offering a breadth of styles rendered in characteristically bespoke timbres. The EP revisits “Wait A Minute Now,” first included on the free Ghostly Swim compilation, with two new versions and a potent Arto Mwambe remix. Osborne also slakes his thirst for crossing genre borders on two new tracks that deliver on the promise of his 2008 releases without simply reshuffling the deck. The two new versions offered here don’t veer far from the blueprint that made “Wait A Minute” such a standout among its compilation peers, yet Todd Osborn’s skillful rearrangements assure they’re worth owning. DJs will appreciate the utilitarian measures taken to fit “Wait” in their crates, retaining all the rollicking energy of the disco boogie number without breeding talkbox fatigue. And those who feel the vocoder-like affect is overexposed can find comfort in the self-explanatory instrumental version.

Arto Mwambe’s jocular attitude towards production makes them a perfect fit to rework tunes as lighthearted as Osborne’s, and here they don’t disappoint. The main motif’s distinct articulation evaporates, allowing now effervescent tones to swirl elementally across the dance floor. Meanwhile the pair’s signature rounded bass sound and clap-led percussion keep the tune well anchored and ready for the return of the talkbox. Of the two new tracks “Fire” seems most tied to “Wait A Minute” stylistically, its’ gleaming string arrangements and dexterous guitar work expanding the disco theme in even more vivacious directions. By contrast, “The Count” is a punchy techno workout without frills. Osborne wrings simple arpeggios of their groove potential across several drum machine/synth combinations. Used in the right context, perhaps alongside Robert Hood-styled minimal techno, “The Count” could incite dance offs as fevered as those featured in its appropriated video. It may be another five years before the next Osborne album lands, but releases like the “Hovercrafting EP” suggest the road ahead will be dotted with tuneful oases.

Artistic curiosity is a volatile force which can lead to stunning new sounds or, more often, regrettable messes. But to get to the former, artists need the courage to endure the inevitable latter and soldier on. Todd Osborn is fully equipped with both, both in his personal life as a veritable Mr. Fixit and under the musical aliases Osborne, Soundmurderer, Superstructure and TNT (with Tadd Mullinix). So when he’s not busy pulling apart an airplane engine or editing his music software, Osborn dives into writing whatever kind of electronic music fits his fancy. His self-titled debut album as Osborne gathers a mix deep house, electro, techno and electronica tunes while maintaining an unlikely coherence that assures listeners that his curiosity is a well needing to be tapped. Todd was kind enough to be interviewed twice to discuss retro instincts, the interaction between his musical personalities and his well documented inquisitiveness. (interview by Steve Mizek)

Did you listen to electronic music before you started producing it?

Oh yeah, of course. I’ve been buying all sorts of records since I was in pre-school. Actually my dad’s copy of “The Plastic Cow Goes Mooooooog…” was probably the first music I heard that I thought was entirely electronic. I remember thinking, “This is really awful… and really interesting,” haha.

Tell me a little bit about a few electronic records you loved which convinced you to try it for yourself and why those records specifically.

The first Run DMC LP made me buy my first drum machine, a Dr. Rhythm DR-something. I had seen lot of other groups with electronic gear that looked amazing but it seemed too out of reach to have any of that. Even a sampler was way out of my league, but hearing tracks like “Top Billin’” and “PSK” convinced me I had to at least have a drum machine and a turntable.

How has your growing up in Michigan impacted your sound at all?

The radio here was an enormous influence on most people my age that make music. Hearing the Electrifyin’ Mojo and the Wizard every night on the radio opened me up to all sorts of electronic music I night not have heard and being near great free-form radio like WCBN exposed me to jazz, punk and weird psychedelic music I couldn’t have heard elsewhere while in elementary school.

I understand you built the software you used to record the Osborne album. Tell me how it’s different and why you chose to that instead of using Ableton or Logic or something else along those lines.

Well I didn’t build it as such, I just modified it slightly. There are various new EQ and filter settings and “hyper” offsets for samples. Oddly enough I hardly ever end up using any of these mods, haha. I like this software only because I know it so well. It doesn’t matter what program you use, if you know it really well you can very likely get it pretty near to however you want it to sound. I’d like to use some other programs but I just haven’t had the time to re-learn a million keyboard shortcuts. If someone was just starting out and wanting to try using a tracker then I would suggest Renoise instead of piecing together a system like mine.

Do you think the democratization of producing through Ableton is a positive or negative thing?

Definitely positive. If someone has as idea they want to get out and Ableton (or any other program) helps them express that then more power to them.

The press sheet that came with your album really played up all the new stuff you’ve learned to build and do. Why do you find yourself so drawn to building and learning about new things?

I get easily bored with everything, whether it’s making music in different styles — I don’t want to make the same 4×4 song over and over. If you’re into mechanical stuff… I don’t know, it doesn’t apply to everyone, but if you’re into motorcycles and dirt bikes with two stroke engines you can apply that to airplanes and their engines. Being a mechanic, you’re interest in how things work and you become interested in how a variety of things work. I’ve had good opportunities and friends that are into… I have a friend who’s a commercial airline pilot, so I’ve had a chance to be around those engines. I have friends that are bigger electronic music stars than me, and I help them with their gear that I would otherwise never have a chance to touch.

Before hearing your album I sort of presumed it was going to be more deep house-oriented, based on the singles I’d heard previously. Instead it’s stylistically all over the place. Tell me about how you arrived at such a diverse sounding album.

I have no idea, haha. It’s more of a compilation to my ears. Sam Valenti gets the credit for picking the songs and putting them in some sort of sensible order. None of the tracks were made with an idea of relating to other tracks on the album, plus they span like 4 or 5 years. I had planned on making the LP much more diverse but after hearing the album in the order it is in it makes sense in a way that I couldn’t have done if left to my own devices.

With an album that diverse I was curious, who are some of your musical heroes?

I don’t think I can answer this. I’ve been sitting here trying to think of anyway to answer this without making a never ending list of names but I just can’t do it. Maybe “heroes” is just too vague of a word in my mind. I will just say the first name that popped into my head while reading that question: The Beatles.

Do your Soundmurderer instincts impact your Osborne sound?

Yeah a lot, I think… and not usually in a good way if you’re the listener. Because I’m used to cutting up drum breaks pretty intricately and when it comes to doing something like a house track I start making the melodies intricate and dense and more often than not it’s just way too much and doesn’t work well for the tracks. Just like painting, there needs to be some negative space there.

I really liked your collaboration with Ed DMX. Have you known him for a while? Tell me about your relationship with him.

I’ve known Ed for maybe 5 years or so but we only recently made a few tracks and they were just for fun. I never thought that track would end up on the LP. I thought it might to be too goofy but I’m glad Sam dug it as well. We made that track a few hours before we went to some rave in Hackney a couple years ago. Ed is someone (like most everyone on Rephlex) that I would be friends with even if there wasn’t the music connection. Great sense of humor and interesting guy.

It seems techno/house producers are feeling rather introspective lately, revisiting past themes and offering their own take. You do a bit of that yourself on the album. Why do you think that’s where we’re at right now? What do you think it would take to move things forward?

Well, I can only speak for myself. Some of my music may sound “retro” because of the influence of liking a lot of older records. If I was making jazz I’m sure a lot of it would have hints of a 50′s hard-bop style to it because that’s one form of jazz I’ve always loved. So the same is true with house, techno, etc. Of course it would be nice to reinvent a genre but that’s just not me. Whenever I get to a certain point while making a track things seem like they should follow a certain progression, this is probably just me subconsciously ripping-off some older styles I like that inevitably influences my production decisions, haha.

What can we expect from you over the next year’s time?

There lots of other music coming out in all sorts of styles. I think my music is slowly getting better and better. Hopefully you’ll be hearing tracks from me that have a lot more confidence behind them and progressively better.

Todd Osborn is a born tinkerer, a guy who wants nothing more than to crack open the nearest electronic device to see how it works and, if possible, how to improve it. The trait is essential in his stint as an airline mechanic and at home, where he dissects computers, software, synthesizers (which he repairs for a notable international clientèle), hovercraft and anything else he cares to learn about. Osborn approaches music with the same intense curiosity and creative drive as evinced on Osborne, his self-titled, debut full length for Spectral Sound. The 15 track album flips through dance music history like a pile of 12″s, chooses the most enticing templates and offers Osborn’s own compelling take. “I can do that!” indeed.

(Download “Outta Sight” from Osborne after the jump.)

Osborne is a rough compendium of tracks dating back to 2003, some of which have been released previously (“Afrika,” “Outta Sight” and all four of the “Ruling EP” tunes) while the majority are exclusives. The diversity of its sounds and structures is a testament to Osborn’s aranging abilities and broad taste. Despite languishing on hard drives for years, even the oldest tracks sound fresh and fitting for today’s musical climate. Those hungry for soulful deep house will have their arms aloft for the stunning “Ruling” and “Downtown,” while newfound tribal enthusiasts will thrive under the chunky hand drumming and chants of “Afrika.” Tracks such as “Air Pistol,” “Detune” and “Fresh” tread the border of techno and electronica, often with liberal doses of bright melody and a strong percussive backbone. Osborn also indulges the acid urges first explored with Todd Mullinix as TNT on “Evenmore” and “Junk Food,” nodding to Luke Vibert as his 303s churn and squelch. Credit is also due to Spectral Sounds’ founder, Sam Valenti IV, for selecting and sequencing the best Osborne tracks in a logical, narrative fashion.

Unlike projects by other hyper smart producers, Osborne emphasizes how much fun its creator had crafting its contents rather than a heavy-handed concept or overly academic programming. “Our Definition of a Breakdown,” Osborn’s playful collaboration with Ed DMX, is a perfect example. The long time friends are heard laughing and jeering as they build and narrate the old school electro jam, complete with jaunty synth stabs, digital claps and keyboard-generated vinyl scratches. While “Our Definition” is a touch goofy, others simply avoid being too serious: “Air Pistol” and “Fresh” soften the oscillating growl of their low end with soothing synth tones; “5th Stage” and “16th Stage” are warm-hearted synth workouts, the latter’s vocals greet incoming listeners while toasting “the sun.” Other tunes head right to the dance floor for their kicks, like the rhapsodic “Ruling” and piano-heavy “Outta Sight.” Listeners will reach for Osborne when they have something to celebrate, when they need a dose of positive vibes or for satisfying a non-electronic audience, as its breadth of styles and ear-catching sounds transcend usual biases.

Download: Osborne, “Outta Sight”

The foundation of Todd’s productions are often finely tuned tones rather than grids of percussion; this focus gives each tune a richness that endears even the most unfamiliar song structures to listeners. Rhodes electric piano (or its attendant synth patch) is splashed across much of the album, as is a battery of vintage 808/909 drum timbres. One of the lushest tracks is Detroit-influenced “Downtown,” which balances the harder piano hook on the back of an unctuous, oscillating bass groove to a sublime effect. “Fresh” finds a familiar Osborne tone ricocheting dub-like across bow of flute-led swells, as “Detune” unleashes a careening keyb run on otherwise placid pads. Even rougher edged tunes like “Junk Food” and the Mullinix co-produced “L8″ are well-developed if spiky treats.

Admittedly, some of the album’s electronica-leaning portions did not sink in for me at the same rate as his floor ready pieces, largely because I expected more of the latter. But Osborne kept me coming back, interest piqued enough to let Todd Osborn’s painstaking assembled songs reveal their convivial qualities between sing-a-longs to “Ruling,” “Outta Sight” and “Afrika.” It’s an album reflective of Todd’s unending drive to explore the unexplored, to make things better while having a great time doing so. It also suggests a bright future in music still lies ahead of him — if he can find the time to tinker with it. (post by Steve Mizek)

Just a quick reminder that LWE fave Osborne is playing tonight at Sonotheque, 1444 W. Chicago Ave. He’s supported by Kill Memory Crash and Michna. Starts at 9pm and is completely free! Hope to see you there.

01. Robert Hood, Fabric 39 [Fabric] (buy)
The subtitle of this mix should be “In Case You Didn’t Know,” as the Godfather of minimal techno lays down 32 tracks of blisteringly paced techno/house with the same effortless intensity he’s long been known for. Aside from exclusive “elements” and a few from his latest Hoodmusic, Hood doesn’t step far from his comfort zone of old favorites. But when you’re creating a timeless mix, who needs un-vetted components?

02. Cassy, “A Poem For You” [Uzuri] (buy mp3s)
Though her singular style has largely remained the same, the precise tweaks Cassy makes on each subsequent release endear her to me ever more. Released by the fledgling (by rapidly growing) Uzuri, the long and lithe “For You” and “The Poem” wring so much dance floor magic from little more than her pipes and 808 everything. Bonus points for having Jus Ed chop and screw “For You” into a narco-house classic.

03. Sascha Dive, “DEep” [Drumpoet Community] (buy)
This is the first time Mr. Dive has really caught my ear, but “Annihilating Rhythm” and Samuel L. Sessions’ “DEep” remix have held on to it for dear life. Choice vocal samples (kudos for grabbing Bobby Byrd), irresistible percussion arrangements which breathe and sigh and understated deep melodies, it all clicks on his Drumpoet debut. I can’t wait to play these out.

04. Kalabrese, “118″ [Phictiv] (buy)
Switzerland’s sui generis answer to DFA’s organic dance sound is still turning out some of the best left field house music as evinced on his “118″ EP for Phictiv (which only recently became available digitally). Kalabrese recruits vocalist Gustavo Delux to take the breezy “Alberto” to the next level and whispers naughty things in listeners’ ear on the subtly pulse-quickening “Makelovedisco.” Someone put him in a room with Henrik Schwarz and let’s see what fantastic mischief they get into.

05. Omar-S, “Psychotic Photosynthesis”
[FXHE Records] (buy)
The fiercely independent Alex “Omar” Smith may have outdone himself with the colorful and prodigious single-sider, “Psychotic Photosynthesis.” Like an upstart heir to the mind-expanding majesty of C2′s “Revelee” remix, “Psychotic” riffs through beautiful and simple progressions as untamed pads roar to life in the background. Could be a devastating way to end a set.

06. STL, “Lost In Brown Eyes” [Perlon] (buy)

07. MyMy, “Southbound” [Ostgut Tonträger] (buy)

08. Osborne, “Ruling EP” [Spectral Sound] (buy)

09. Sebbo, “Watamu Beach” [Desolat] (buy)

10. Satin Jackets, “Conspiracy Theories EP”
[Noble Square Records]

[Spectral Sound]

Last week I lamented the relative sonic thriftiness of contemporary producers of deep house while discussing Juno’s Urban Soul remixes. Imagine my delight, then, when the Osborne’s meaty “Ruling EP” landed in my inbox with a resounding thump. Todd Osborn has shaded his productions (especially “Afrika”) with deep house’s vibrant blush since Spectral Sound’s salad days, in-between battering the dancefloor as Soundmurderer and getting wonky with Tadd Mullinix as TNT. Between 2004 and 2007, Todd’s Osborne alias went silent. Last year’s “Outta Sight” suggested a return to form, but few could have expected the luscious tonality and classic-referencing structures found on the rhapsodic “Ruling EP.”

Listen to “Ruling”:

As if emerging from an apprenticeship with deep house’s Chicago cognoscenti, Osborn lays it on thicker and more “authentically” than he ever has before across these four tracks. It’s hard not to swoon at the passionate electric piano sighs, meaty bass tone and stirring vocal performances of “Ruling,” not to mention the fluttering interplay between keys, electric piano stabs and quintessential drum patter. The intensity carries through in the spacious and piano-driven “Downtown.” Filled to the brim with coolheaded tones, the tune glides across a minor piano hook on the back of an unctuous, oscillating bass groove, pushing the real world away for a moment of serene escape. The EP changes gears to a near-ballad tempo on”16th Stage,” which finds someone (Todd?) intoning a toast to “the sun” as chiming keys, subtle synth squiggles and billowing strings pay their respects. “Fresh” brings listeners back to the floor with a hulking kick drum and the introduction of phased dub chords, but the odd contrast with later synthesized flute fauna and digital “aahh” vocals leaves me somewhat cold, especially after the first two tracks.

The “Ruling EP” is something of a sampler platter for Osborne’s self-titled, full-length debut which lands May 5th, also on Spectral Sound. It hints at a wider range of sonic approaches than one might have expected of Todd Osborn, even though some of them (“Ruling” and “Downtown,” both of which are going straight into my crate) work better than others. But hey, I can’t complain too loudly: this squeaking wheel got its full-figured fill.