Jeremy Greenspan has teamed up with Borys on a new EP titled God Told Me To set to drop on Jiaolong in just a few weeks! The four track EP will be avilable as a 12″ and digitally. Three of the tracks were composed by Jeremy in collaboration with J Borys while the final track also features the work of Christina Sealey. Full tracklisting details are below. In anticipation of this EP you can head over to Jeremy’s SoundCloud page and listen to some of his previous Jiaolong releases.
A1 – God Told Me To æ
A2 – Saint Hood ø
B1 – Stylite œ
B2 – The Devil’s Punch Bowl æ
æ – Jeremy Greenspan & J Borys
ø – Jeremy Greenspan
œ – Jeremy Greenspan, J Borys & Christina Sealey
Greenspan’s best known for his Junior Boys works, but he’s not averse to popping out the occasional solo record or remix: he released the ‘Crown Princess’ 12″ on Dan Snaith’s Jiaolong label in 2012, and followed up with a tight edit of synth musician Laurie Speigel’s 1980 track ‘Drums’.
His latest edit sees him reconfigure Ghostly singer Lusine, responsible for this year’s The Waiting Room LP. His ‘Lucky’ remix begins as clean and light as sorbet, spotted with Zapp synth-wobbles and underscored by an Italo disco pulse. Things start to toughen up around the four minute mark, bringing Whitey’s vintage electro-trash smash ‘Leave Them All Behind’ springs to mind.
The Greenspan remix will feature on a 12″ release of Lusine’s ‘Lucky’, due on Ghostly in the coming months. The release will also include a remix from quondam Emerald Steve Hauschildt.
Lusine – Lucky (Jeremy Greenspan Remix) by ghostly
Renaissance’s The Masters series tends to stick to big room hand-raisers, with Deep Dish, Hernán Cattáneo and James Zabiela all contributing previous instalments. Their latest mixer, though, is a more storied proposition. Francois Kevorkian came up in the early 1980s spinning in legendary spots like Studio 54 and The Paradise Garage. A slew of high profile releases and remixes followed, and he consolidated his hold on the NY house scene in the mid 1990s with the legendary Body & SOUL parties, run alongside Danny Krivit and Joe Claussell.
The 2xCD The Masters set features some familiar friends, including Objekt’s precision engineered ‘Porcupine’ and Blawan’s ’6 To 6 Lick’. A hitherto unheard track from Scuba will also feature. Tuff City Kids, Mike Huckaby, Trevino, Alden Tyrell, Factory Floor and A Made Up Sound all make the cut.
. Peep below to check out the tracklisting.
01. Jazzanova – I Human featuring Paul Randolph (The Mike Huckaby Jazz Republic Downtempo Mix)
02. Francois K featuring Terry Burrus – Mystical Lady
03. Anton Kubikov – Chords
04. Daniel Avery – Drone Logic (Factory Floor remix)
05. Jeremy Greenspan & Laurie Spiegel – Drums&Drums&Drums
06. Detroit Swindle – Creep
07. Tuff City Kids – Begger
08. Maetrik – Walk Alone (Maceo Plex Revenge Mix)
09. Marcus Worgull & Peter Padeike – Salam
10. Nautiluss – Zero Gravity
11. Scuba – Untitled
12. Locked Groove – Dream Within A Dream
13. Echologist – Buzz Factory
14. A Made Up Sound – Sweetback
15. Blawan – 6 To 6 Lick
16. Objekt – Porcupine
01. Luca Bacchetti – Atlantic
02. Acid Mondays feat. JD73, Shovell The Drum Warrior & Wolfgang Haffner – El Recorrido
03. Michel De Hey vs. Rauwkost – Bluetrain
04. Andre Crom & Martin Dawson – Back To The Future featuring Roland Clark (Flashmob remix)
05. Benny Rodrigues – Nostalgia
06. Technasia – Bastille Days
07. Francois K – Dark Magic
08. Delano Smith – Inspiration (Reconstruction By Makam)
09. Random Audio – The Model
10. Stephen Brown – Fuego
11. Gary Beck – Askaig
12. Adam Beyer & Alan Fitzpatrick (Len Faki remix) – Human Reason
13. Alden Tyrell – Tntus
14. Trevino – Forged
15. Chronophone – Eiffel In Love
Jiaolong006-Drums&Drums&Drums/Sirius Shake by Jeremy Greenspan
Last year’s re-issue of Laurie Spiegel’s genre-defining ‘The Expanding Universe’ was a highlight of many a ‘best-of list’ (ours included), so it stands to reason that someone would take the initiative to flesh out her forward-thinking electronic abstractions into something more… well… dancefloor friendly. Junior Boys’ Jeremy Greenspan has obliged and taken Spiegel’s proto-techno masterpiece ‘Drums’ and fed it through his enviable collection of synthesizers and drum machines, using the skipping sequences of the original to inform the direction of the track. The result is both respectful and surprisingly floor-filling, with the progressive drive culled straight from the source material forming the backbone, and Greenspan only adding an economic scattering of melodic flourishes on top. Keeping it minimal was a smart move, and while Greenspan’s calling card might still be harmony, ‘Drums&Drums&Drums’ strength is in its cautious, slow build – bringing to mind Li’l Louie’s peerless and deliriously intense ‘French Kiss’ which is no bad thing at all. While it ends up on a totally different playing field than the original track, Greenspan has proven that it is possible to tinker with a classic and actually make it work.
“I first heard Laurie Spiegel’s music about 13 years ago. Growing up I had been excited by early electronic experimentalists – people like Hugh Le Caine, Steve Reich, Wendy Carlos, Louis and Bebe Barron and of course Norman McLaren (whose work became the principal inspiration for the third Junior Boys album “Begone Dull Care”). In 2000 OHM released their excellent 3 CD set “The Early Gurus of Electronic Music”. That album introduced me to the wonderful music of Jean Claude Risset, Alvin Lucier and most importantly for me, Laurie Spiegel. Spiegel’s recording “Appalachian Grove I” stood out on the compilation. Amidst a sea of abstraction, dissonance and confrontational noise, Spiegel’s composition is no less experimental, no less contemporary than the other works, but is, if you forgive the cliché, wholly musical. In fact “Appalachian Grove I” is, if anything, a celebration of joyous harmony. It is a gentle swarm of synthesized tones, like a perfectly conducted orchestra of robotic cicadas.
Starting in the 1970s, Spiegel worked at the famous Bell Labs in Murray Hill, New Jersey. Under the direction of famed engineer Max Mathews, the Bell Labs were responsible for many innovations in sound design including the famous speech synthesizer used for HAL in Stanley Kubrick’s “2001″. Spiegel’s work focused on programming computers with decision-making algorithms she could interact with to
make music. As a result her music, except when directly based on a specific formula, such as her famous rendering of Kepler’s Harmonices Mundi, is often rooted in the most fundamental materials and structures of the Western musical tradition.
In the field of experimental electronic music, born out of the atonal philosophies of Varese, Schoenberg and Stockhausen, such traditional notions of harmony and melody make Spiegel quite unique. This last year a reissue of “The Expanding Universe”, which compiles Spiegel’s major works from the mid-70s was released to rave reviews on Unseen Worlds Records. Included on that release is the
1975 composition “Drums”. Since first hearing it over ten years ago, I was always amazed at how contemporary “Drums” sounded. I have, over the years, often thought of different ways I could edit the song to be used as a DJ tool. Last year while breaking from touring the fourth Junior Boys album, I released my first 12″ for Dan Snaith’s (Caribou, Daphni) label Jiaolong. The mandate of Jiaolong – to produce interesting and daring dance music following a wide variety of musical influences and trajectories – got me thinking that I should pursue my dream of re-editing Laurie Spiegel’s “Drums”.
It is tricky to work with something you love, and which is in itself already perfectly complete. This track is credited to both myself and Laurie Spiegel, not only because I received her generous blessing and input, but also because I felt as though I was attempting not simply to re-edit or even remix the piece, but rather to play off of it: to use it as a guide to exploring some different musical possibilities, and to collaborate with the original. In many ways I didn’t write anything, but simply played back “Drums” on my computer, using its tempo and rhythms to trigger an almost arbitrary chain of synthesizers, both new and old. I then fed Spiegel’s original piece into my indispensable Eventide H3000 Ultra-Harmonizer (a piece of equipment that I use constantly and was, unbeknownst to me, beta tested by Spiegel in the 1980s). My job was simply to select the moments I thought worked and disregard the excess.
I am thrilled to release this piece with Laurie Spiegel. She is in my opinion, the best type of experimental, electronic composer, because she is, at heart a populist. She uses the most cutting edge technology and she has always employed the most rigorously complex and formal methods to make music, yet the music is itself never esoteric or alienating. It is enjoyable to all who hear it. And with just a few tweaks, and a bassline it’s now ready for the dancefloor.”
Jiaolong006-Drums&Drums&Drums/Sirius Shake by Jeremy Greenspan