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Heaven 17 - (We Don't Need This) Fascist Groove Thang

Heaven 17, "(We Don't Need This) Fascist Groove Thang (LP Version)" (YSI link)

Heaven 17,. "(We Don't Need This) Fascist Groove Thang (Full Length 12" Mix)" (YSI link)

Back with a bang, a classic 80s synth pop dance classic. Heaven 17 were a new wave-y band that was intimately connected to the amazing electronic rock music coming out of the UK in the early 80s. The band was formed by Ian Craig Marsh and Martyn Ware when they split from their group called Human League. Perhaps you've heard of them? The duo formed a production company called British Electric Foundation (BEF), eventually adding Glenn Gregory on vocals and becoming Heaven 17. They never quite broke into the big-time, although they did enjoy a few songs that charted, including this one above.

"(We Don't Need This) Fascist Groove Thang," the band's first single, hit #45 on the UK Charts, despite the fact that it was banned by Radio 1 DJ Mike Read. I love this song so much, it makes me want to start a dance party with Emma Goldman in a huge warehouse with lots of love and organizing and fun. You get all here: rad political lyrics about the horrible political landscape of the 80s with Reagan and Thatcher, that great UK drum machine and synth sound, clattering percussion, some nice keys and horns filling out the sound. I cannot begin to explain how great it is to hear dance music with such an explicit political edge; as much as I love the booty shit and the disco and house calls for love and sex and happiness, there's something inspiring about hearing dudes who understand just how radical it is to make people dance. That abandon, that mixing of bodies, that's a revolution every night people! Download this! Organize! Yeah!

Will Eastman! Remixes! Le Freak! Washington D.C.!

Codebreaker, "Riviera On The Moon (Will Eastman blisspop remix)" (YSI link)

Air, "Once Upon A Time (Will Eastman blisspop remix)" (YSI link)

The Hourly Radio, "Crime Does Pay (Will Eastman blisspop remix)" (YSI link)

Oh, did I mention the Pound for Pound reference on the Washington Post online site? That's right, friends, this humble blog got mentioned by one of the biggest sites in the world. Can't stop, won't stop until Tom Friedman uses me as an example of the world flattening in another of his awful columns. Get at me paper of record, the takeover has begun. Seriously though, congrats to Will Eastman on this great write-up, good to see the local press catching up to what we've been saying for a minute about this dude's talent. This is a good chance to re-up this post and the songs, don't sleep if you missed this one before.

It's been a shitty week, but I'm so super psyched to post up these remixes from DJ Will Eastman, a DJ that I hope will get much more attention and hype ASAP. For longtime readers, I'm sure that you've caught many references to Will and his various parties in Washington D.C., he's been one of the bright spots in a city not know for its raging. He got started in 1998, spinning indie, britpop, dance, disco and just about anything good at various spots. He started the Bliss monthly party at The Black Cat in September 2000 and this one's still going strong all of these years later. All of this is to say that this dude deserves far more attention than he gets; he's a talented DJ who mixes all kinds of music from the past, present and future with an eye to the dancefloor, who has been on the grind, making a scene where one might not naturally exist. Like I've said before, there's nothing that makes me happier than shining the spotlight on all of those people who hustle and make a city what iut is and hopefully help them get to a bigger audience.

I hope that these remixes above are just the ticket to get the word out, as they have been the soundtrack to my week. I'm honored to be given the exclusive first shot at his remix of Codebreaker's "Riviera On The Moon." This is like looking into a blog crystal ball and seeing two names that will be hyped from Brooklyn to Budapest, as Codebreaker is a super rad electro-funk band from Madison, Wisconsin. Eastman turns the original and makes it even more dance floor friendly with a huge bass, some vocal fuckery and driving drums. The chika-chika guitars find there place perfectly in this version, especially love how he takes everything else out and leaves the vocals over that guitar work, very nice. This is just really great stuff, sitting right on that pop/dance fence where so much of the best stuff coming out falls.

I've also upped two other remixes, the Air remix is as beautiful as you'd expect, blisspop indeed. However, it's The Hourly Radio remix that you need, an official remix for the single (Shiny Toy Radio contributed another one). Eastman's taken a really great song and turned it into something awesome, turning a indie song into a dance track with that (signature?) warm bass, hi-hats and cool 80s scratching synths.

If you lie in D.C. you really should just take a second, jot down my dude's schedule and pencil those parties into your day planner or Blackberry. His monthly Bliss party goes down again soon, February 8th, the perfect way to warm up this winter or to forget about the inexplicable fact that Obama won't put mandates on his health care plan. Even better, Will has his Friday night weekly called Le Freak at the Napoleon Lounge (1847 Columbia Rd.) in Adams Morgan going full steam ahead. If you haven't made it through, tonight's your chance to find your new weekly stop. No cover, doors at 10 pm, half-priced champagne (!!!) from 9-11, Will with special guests playing all of the music you want to hear - booty bass, disco, electro, classic house, pop, rap

For the rest of the country, check out Will's myspace page or the Bliss party one, bring him to your city. I know that he was just in Minneapolis for the Too Much Love jawn with Soviet Panda, I'd love to see some of my Pound for Pound party people and promoters and DJs help him destroy some other cities. Finally, for everyone else, download those songs, check out the Bliss website for new info and songs, be friends on said social networking site above, keep reading Pound for Pound, as we will hopefully have much more from Mr. Eastman. Yeah! Blisspop!

Hot Chip - Ready For The Floor

Hot Chip, "Ready For The Floor" (YSI link) 320

Hot Chip, "Ready For The Floor (Soulwax dub)" (YSI link) 320

There are just some times when I don't want to be writing, when life just seems a little too much. Sadly, this is one of those times; while a new, hopeful year has begun, someone very dear to me left the country today and I feel sad and empty. When I feel lost like this, music always helps me to find my way.

What better way to start the year out than by looking ahead to the most anticipated album of early 2008, Hot Chip's newest LP. Yes, I know that this has been all over the Internets and you probably already have it, but whatever, just be glad I'm not just uploading The Smiths discography and writing sad face emoticons. Seriously though, I want to help spread the word and get people hyped for the record, as I'd love to see this album have some real mainstream success.

"Ready For The Floor" is the first single to leak from the album and it has come complete with remixes from some serious heavyweights - Soulwax, Jesse Rose and Diplo. The original is just what you would expect from the UK band, great dance pop music with that melancholic tinge that sets it apart from nearly all of dance music. It has an unhurried paceAs always for me, it's the lyrics and vocals that make me most happy, as Alexis Taylor's near-falsetto voice just sounds perfect to my ears. Add in lyrics about trying to get through to someone to dance with you and you've got yourself a good opening salvo. This is not as catchy or classic as the main singles from The Warning, but it's very good and grows on you after the first few listens. The Soulwax dub, on the other hand, doesn't need any second listen; it's a rager right out out of the gate. Dub is not the word I would describe this, as this is gnarly and rocking and awesome (not that dub can't be awesome, it's just awesome in a non-dubby way) At 8+ minutes, it takes the original on a few mini-trips, from

All of which is to say that Pound for Pound is even more psyched to hear the new album, Made In The Dark. Adding to that, Mixmag has already awarded the album Album of the Month status in their January '08 issue. You can pre-order the album from Insound in its deluxe edition or just sit tight until February 5th when it officially drops. Yeah! 2008!

Soulwax - Most Of The Remixes We've Made For Other People...

Justice, "Phantom Pt. II (Soulwax remix)" (YSI link)

DJ Shadow, "Six Days (Soulwax remix)" (YSI link)

Arthur Argent, "Hold Your Head Up (Soulwhacked mix)" (YSI link)

It's the time of year when everyone starts looking back, compiling their best-of lists and whatnot. It's the perfect time to look at one of the best releases of this year, which looks back at the past decade of remixes from the seminal dance combo Soulwax. If you read this blog or care about electronic music, you already know about Soulwax. For those that don't, Soulwax is a Belgium music conglomerate run by the Dewaele brothers, Stephen and David. Under that moniker, they've made original studio music, play live around the world and remix other artists. They DJ as 2ManyDJs, world famous for their sets and How To Kill The DJ mixes. All of our favorites today, from Justice to Simian Mobile Disco to Digitalism, are in debt to these guys.

To celebrate a documentary called Part Of The Weekend Never Dies, which chronicled Radio Soulwax, Parlophone and Soulwax have compiled (almost) all of the remixes the guys have done over the past 10 years, from their 1997 Lords of Acid one to this year's Justice and Klaxons. I tried to give a good sampling above, covering the different ground that the guys have in terms of remix projects, including my favorite remix on the CD, the Soulwax remix of DJ Shadow's "Six Days." I left out the Daft Punk, Kylie Minogue, LCD Soundsystem, Klaxons and more, just to give you a sense of how stacked this compilation is. I did want to pay special attention to the Soulwhacked mix of Arthur Argent's "Hold Your Head Up," which was completely new to me. This one is sick, sick, sick; it's start off slow and relaxed, as instruments get added to the mix. Then, an awesome robotic voice comes in repeating the lyrics, Slowly but surely, a nasty bass comes in and the rocking drums rock harder and you get just a great tune. P.S. Pay special attention to the lyrics, my friends: "When it's love that brings you down, don't ever let them know. However hard they hurt you, don't ever let them know. Hold your head up."

Oh, and for the record, here's the full title of the album:

Most of the Remixes We've Made Over the Years Except for One by Einsturzende Neubaten Because We Lost it and a Few We Didn't Think Sounded Good Enough or Just Didn't Fit In But Including Some That are Hard to Find Because Either People Forgot About Them Or Just Simply Because They Haven't Been Released Yet. A Few We Really Love. One We Think is Just OK. Some We Did For Free. Some We Did For Money. Some Just For Ourselves Without Permission and Some For Friends as Swaps But Never On Time and Always At Our Studio In Ghent.

Clearly, this one gets our highest recommendation. It's just an amazing package for fans and DJs alike, 2 discs of pure bliss, Disc 2 features a mix by 2ManyDJs that takes you on a journey through the remix catalogue. This one is not easy to find for some reason, but HMV has it at a great price.

Shannon - Let The Music Play

Shannon, "Let The Music Play (original 12" mix)" (YSI Link)

Shannon, "Let The Music Play (instrumental)" (YSI link)

Shannon, "Let The Music Play (1989 European Remixed version)" (YSI link)

Every so often I will realize that I haven't posted a favorite and feel the need to immediately rectify that. Shannon's "Let The Music Play" is a perfect example, a stone-cold classic dance track that everyone has heard and needs in their lives. From that unforgettable synth melody to the great vocals, it's a timeless piece of music. I love the vocals, not sure that they get enough attention, since the music is so great. But, Shannon provides a nice counterpoint to the cold electro, singing about a lover who has found someone else on the dancefloor. Love love love the concept, telling the DJ to let the music play and it will bring this guy or girl back to her.

Originally released in 1983, it's hard to realize how great this single's impact was. It was the first electro track to feature female vocals, hearkening back to the classic disco diva days. I mean, can you think of a more perfect Pound for Pound track than one that sits at the crossroads of disco and electro, while simultaneously paving the way for freestyle? The producers on this one are none other than Chris Barbosa and Mark Liggett; Barbosa is credited with founding the freestyle sound and one can hear that blueprint on this track with the syncopated beats and Latin American rhythm. He is also the man behind the 1989 European Remixed version, which extends the original and makes things a bit busier.

This is an essential piece of dance music history, so let the music play.

Armand Van Helden - NYC Beat

Armand Van Helden, "NYC Beat (MSTRKRFT remix)" (YSI link) 320

Armand Van Helden, "NYC Beat (Emperor Machine remix)" (YSI link)

Armand Van Helden, "NYC Beat (Prince Language remix)" (YSI link)

Let's keep going on the New York City theme. I had originally planned on posting this song early last month to honor my 1st year of New York City living. Technically, I guess I have been here more than that if you include my team in the Lower East Side, but I don't include that and don't have any recollection of it. So, yeah, yea me for a year in New York City! I moved three times, and have seen a man with his face burnt off by acid three times on the subway.

Here's the final single from Armand Van Helden's Ghettoblaster LP that I have, been out since early summer. "NYC Beat" is definitely my favorite of the onslaught of singles that have come with this album, a great original from the legendary Van Helden. Dude easily morphs into a new sound when the situation calls for it, this one's made for the indie dancing kids with its big beats, sick bass, guitars and anthem-y vocals. MSTRKRFT does their thing, chopping it up like only they can, creating another staggered monster. Would've loved them to really let go at one point and just destroy me with bass, but that's just me.

However, it's the other two remixes that deserve your full attention, both of which take the temperature down and stretch things out nicely. First, Emperor Machine turns in a bleepier, dubbier version that really works well. I just love how he takes his time and gives the song real movement, like how he drops everything out but the bass early on and builds back into a discofied funk tune that you never want to end. Wonderful. Oh, but the real treat here is the Prince Language remix, I want nothing more for Hanukkah than more remixes and releases from this dude in 2008. He brings the cowbell out early and often and you know I won't ever hate that. From there, he turns in a percussion feast, at times dubby, at times toe-tapping funky. I like it, hope you do too.

If you haven't already, grab a copy of Ghettoblaster, a great album from a dance music master.

Jack Master - Basement Trax Volume 1

Jack Master, "Bang The Box" (YSI link)

Jack Master, "One Trac Mind" (YSI link)

It's been a less-than-stellar trip back this weekend. As Mr. Dylan once sang, "I'm going back to New York City, I do believe I've had enough." While I'm in transit, I want to leave you with two songs that also look to another city, the birthplace of acid house, Chicago. While one might think that this is just another unheard masterpiece from Trax Records, what with the name of the artist, the song titles, the sounds and even the design, don't be fooled. Jack Master is actually an alias of Richie Hawtin, techno's Zelig, an ode to the jackin' style of Chicago done by a Canadian who I always thought was British. Originally released in 1993 on Jack Records, an offshoot of the Plus 8 label, this one is a phenomenal record, another example of the skill and diversity of Richie Hawtin and his music.

The songs may have sprung from a desire to pay respect to a classic sound, but they easily rise above simple homage, especially on the opening track, "Bang The Box." On this one, you get a male voice repeating the word "bang" over and over, a la so many classic Trax joints, but the heavy, static-y drums give it a less-stripped down sound than the originals. While "Bang The Box" has gotten the attention from this release, " the B side should not be overlooked. "One Trac Mind" is a nice mental

P.S. Richie, you named the label Jack, took the alias of Jack Master? I mean, we already love you! It's awesome that you want to make it onto Pound for Pound, I just don't think you need to be that obvious.

Plastikman - Krakpot

Plastikman, "Krakpot" (YSI link) 256

Plastikman, "Elektrostatik" (YSI link) 256

Okay, I know you are thinking, "Didn't you say you were going to melt your face off with acid Friday?" One may think that I didn't achieve this because I was taking advantage of the weekend and livin' it up, but oh no, au contraire. Honestly, I was looking out for you, my dear reader, as I wanted you to be able to have a great, productive, fun weekend, the calm before the holiday storm in a sense. One listen to Plastikman's "Krakpot" and "Electrostatik" will melt your face and mind, leaving you incapable of traveling home for Thanksgiving, talking to relatives, going out on the big Wednesday night party scene, just generally trying to live your life day to day. The creeping, haunting acid line will burrow deep in your brain stem, it is not for the faint of heart.

Plastikman is better know to us as Richie Hawtin, the legendary Canadian producer who has made classic electronic music for the better part of two decades. We're going to say more about him in the coming weeks, from his own releases to stuff on the labels he founded Plus 8 and M_Nus, but for this blog, there's no better place to start than the music he put out under the Plastikman alias, especially as we take a look at acid house.

Above is his first release under that moniker, the Krakpot 12". Originally released in 1993 on the Nova Mute label, it's some of the best, most frightening music I've ever heard. The 11+ minute "Krakpot" returns acid to its minimal roots, featuring an acid-y bassline that snakes its way around your body in a slow, methodical way, combined with an insistent, heavy kick drum and some effects (blowing wind?). It's hard to believe that Hawtin could hold one's attention for so long with so little, but that's the magic of acid I guess (or more likely the amazing talents of Hawtin). While "Krakpot" may be better known, "Elektrostatik" is every bit as good and nasty. It all seems a little more frenetic, from the drums to the bass. You need to listen to these two on headphones, I seriously just want to freak out right now like a crazy person. You absolutely need this in your life, end of story.

A Guy Called Gerald - Voodoo Ray EP

A Guy Called Gerald, "Voodoo Ray" (YSI link) 320

A Guy Called Gerald, "Escape" (YSI link) 320

This seems like the perfect place to start, A Guy Called Gerald's "Voodoo Ray," the song that most consider the first UK acid house track, the song that would lead to one of the most amazing and productive periods in the history of dance music. Originally released in 1988 on Rham! Records, it would end up #12 on the UK singles chart, become a staple at the Hacienda and usher in the smiley-face, rave-y world to Europe.

A Guy Called Gerald is Gerald Simpson, another legendary figure born and raised in Manchester. He originally started out making freestyle hip hop tracks on a 303 and 808 that he bought cheap in the mid-80s. The first thing he would do in the studio was "Voodoo Ray," picking up on the sounds coming out of Chicago from the same period. Ironically, the song's title and main vocal segment wasn't quite intended; sampling a portion of Dudley Moore and Peter Cook's "Bo Dudley" sketch from their album, Derek and Clive Live, the sampler accidentally cut short the whole quote due to a lack of memory, cutting "voodoo rage" into "voodoo ray." He went with it and no one would miss that -ge. One listen to the gorgeous acid melody, stabs of female vocals & giggles and dense percussion and you will forget all about that too. What I like most of all, though, is the tension between the genuinely nice bass & lighter female vocals and the dark-edged, distorted male ones, it has a nice feel sitting at the crossroads of the darker, bare-bones Chicago sound and the blissful, happy tunes that would soon follow.

Here is the A side to that original release (I actually have the subsequent Blow Your House Down 12" put out by Belgian label LD Records in 1989, but that's our little secret), which also featured "Escape." Not sure what sort of impact this one had, but it shouldn't be overlooked. This one actually has a darker feel to it, what with the sampled "Is there any escape?" vocal, an occasional growling voice, even squelchier bass and effects galore.

Josh Wink's Acid Classics

Josh Wink's Acid Classics (YSI link)

I warned you, I hope that you have proper protective gear as we are gonna be dealing with lots of acid today. I can't think of a better way to start this off than with this recent mix Josh Wink did for Mixmag. Josh Wink's Acid Classics is the perfect intro for anyone not familiar or looking to get more familiar with this music that began in Chicago in the mid 80s. While long-time fans will have heard all of these songs, it's still well-worth the download as it's an impeccable mix, filled with classics for one 70 minute journey into the Roland 303. Mixmag chose the right guy for this job, as not only was Wink a huge part of the original acid scene ("Don't Laugh"), but he has been involved in the resurgence of that sound in the past few years.

I want everyone to listen to this one until the end of the day, as I know no one is doing work on Friday afternoon. We're gonna start with opening track from this mix first, I have chills I'm so excited.