Here’s some music trivia to end your week to. How many tracks could you name that were released in the 50s that have been reinvented in every decade since, by internationally-known artists from across the musical spectrum and to massive popular and critical acclaim? Nothing? Nah us neither, until the opening track on Andras’ new record for Public Possession prompted some research.
‘Jin-go-lo-ba’ was originally released in 1959 by Nigerian percussionist Babatunde Olatunji. The Yoruban call and response (translated as “do not worry”), combined with raw, uninhibited drumming created what American DJ Francis Grasso described as a “rhythmically sensual” sound; one that inspired musicians and producers in every decade since its inception to put their own spin on it. Serge Gainsbourg was the first in 1964, followed by Santana in 1969, then Candido in 1979 where it became a Paradise Garage classic. This version was, in turn, remixed by Shep Pettibone in 1983 with a ‘Breakdown‘ version that harks back to the track’s percussive origins better than any. In the 1992 it was Todd Terry‘s turn to remix Candido, then Fatboy Slim created his own cover in 2004.
Closing out the seventh decade with six months to spare is Melbourne polymath Andras, who opens up his Boom Boom EP with a version that strips things back to the percussive core of its original. Never one to shy away from idiosyncratic club textures (ditto Public Possession), the entirety of ‘Jingo’ is composed from samples from the UE boom turning on and off. “I had the idea to do a percussion-DJ tool using those sounds for quite a while”, Andras recalls over email, “but was waiting for the right idea of what to cover. Given the story of ‘Jin-go-lo-ba’ I thought it was a fitting track to use.”
Discogs currently lists Four Tet’s Anna Painting as an ambient release, which is probably what most people would expect from music crafted to soundtrack an old friend’s painting exhibition. But in fact, two of its three tunes are full-on club tracks, both of which are among the toughest you’ll find in Four Tet’s catalogue. It’s easy to imagine the title track, which runs for a DJ-friendly seven minutes, being yet another Four Tet festival hit. The extended central breakdown has hints of Paul Kalkbrenner and Berlin tech house in its melodic bassline, which is stripped away and replaced by a collage of shimmering strings and tones. Any DJ who spins it needs to be prepared for a beatless few minutes, but if the timing is right, “Anna Painting” could be the highlight of a set.
Sam Shepherd is back with a new Floating Points album. Crush arrives on October 18 from Ninja Tune. Today he’s shared a single from the album. Watch the video for “Last Bloom” below. It follows the previously shared album track “LesAlpx.” Find physical editions of Crush at Rough Trade. (Pitchfork may earn a commission from purchases made through affiliate links on our site.)
The new music was inspired by the shows Shepherd opened for the xx in 2017. The shows were just Shepherd and his Buchla, and instead of performing “melodic and slow-building” music as planned, he made “some of the most obtuse and aggressive music I’ve ever made, in front of 20,000 people every night,” he said in a statement. “It was liberating.” Floating Points released his studio debut, Elaenia, in 2015.
Nightmøde is Matt Kass, a writer, producer and multi-instrumentalist who originally hails from Philadelphia but is now based in East Nashville. Following acclaim and streaming success with previous singles Penthouse Refugees, and The Pressure, Nightmøde is back with this, a new single. A collaborative exercise between Kass and Austin Thomas (who works as Spookyghostboy), Halo is a song about the experience of being in a long distance relationship.
You can feel the experience of uncertainty and inconsistency in the music. The feeling of having someone right with you some of the time, but then being aware of their absence as soon as they are gone. The feeling of not knowing quite what is going on with someone when they aren’t with you, of trying to maintain the emotional tenacity to keep that person in mind… close enough to be in a relationship with them but not so close that they become all you think about.
The sound of Halo is hazy, with a chill wave consistency that feels like be lost in daydreams and not being able to maintain a presence with those physically around you. It’s a slightly heartbreaking record – the sound of things not working, not because they weren’t necessarily to be, but simply because it was too hard to figure them out.