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New Goldie album....

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Yes, the old man is releasing an album in june.... While the first release of it is some vocal tune that isn't much my cup of tea, there is this second tune which I think is quite good....

https://www.youtube.com/watch?v=fJ05HX4T...freload=10
Music critic for the Tally Ho
I do like vocal tunes.. but aspects of the first release off the lp with Ulterior Motive "I Adore You" are a bit .. meh. I agree. There's sooo many different ways to do vocal tunes in dance music in 2017, "I Adore You" sounds really pedestrian.

^^ Prism" is alright. Melody will always have a place.  I hope there's a bit more innovation (?), or new break sounds & ideas on the new lp. THAT would be welcome. Standard retro sounds, ideas & breaks are great, but for my tastes within a new forthcoming Goldie lp, that element might fall flat. The last thing you'd want in a proposed new Goldie lp is for it to sound "pedestrian"if you get me.
Timeless was great but in general ive never been a real fan of the Goldie project
Need to have a listen to this


Enjoyed this interview. Liked the track 'I think of You' which you can here at 5:34
(3rd April 2017, 21:21)DJ ML Wrote: Need to have a listen to this

Me too....Not expecting too much though.

I am interested in what the new forthcoming Nucleus & Paradox release(s) on Metalheadz are
Yes "Prism" is indeed quite good to say the least...lets see where subsequent tracks go.
Lol did Goldie do the voice for Precious Little too?
Cliffy Chicken does look cool though
Hmm i like "i adore you" more than "i think of you" atm.
Prism - better than expected.... quite sparse actually and not overproduced  Xyxthumbs

I Adore You - I really quite like it...

Looks like Goldie is back. Might even get the LP

Pleasantly surprised. Oops  Drums
if you think about it, what other factor made "Timeless" such a pivotal release back then, was the quality of the remixes of a few of the tunes, which made the lp that much more fun to dig into from a dj perpective. The first few Razors Edge releases were thoroughly enjoyable.

As always, will be keeping an eye out for remixes off the new lp.
Why is most "melodic dnb" so weak in chord progressions / melodies / basslines? It's always about fairly basic pop harmonies. Where's the jazz? The dissonance?

I think Calibre, Bukem and Nu:Tone murdered it 20 years ago Neutral
Correction: not fair to post this in a Goldie thread. Just came to mind when listening to "I Adore You". But he's always been one of the few to actually come up with great harmonies.
Great interview, btw Grin
I GREATLY approve of the Burial remix.

meh
Ill have a listen. Dont get me wrong, this is bound to be good. But im waitinh until i can pleasantly overwhelm myself.
Okay, Muttles can safely say after one full listen that the Burial remix is THE BOLLOCKS! It sounds like three random LTJ Bukem, Arcon 2 and Rivet vinyl atomised together and then spontaneously combusted.

Hyper
I just wish it was longer. It's only 7 minutes long! Sad2
^^ the Burial remix dividing peeps for sure. ha.

I like that the fact that is sounds like an old dirty mixtape. That cassette "nostalgia" feel, if you grew up listening to cassettes & all. It an interesting aesthetic. I approve, as mentioned. Smile
It took me a really long time to get into early Burial stuff, even as a garage fan from back when. I can listen to it now, but I didn't see the hype when Burial joints first started dropping. With all the lo-fi productions kicking about as of late, in everything from deep house, techno, industrial, trap even, etc. I can see where the Burial technique fits in for current aesthetics. Keep in mind, there's always new generations of listeners who will hear a Burial tune for the first time, some really lo-fi deep house, or even earlier stuff like Pole, and have their minds blown, or whatever. Static, surface noise, for kids who have never owned a cassette. I approve.
(30th April 2017, 00:35)+ToRMeNT+ Wrote: ^^  the Burial remix dividing peeps for sure. ha.  

I like that the fact that is sounds like an old dirty mixtape. That cassette "nostalgia" feel, if you grew up listening to cassettes & all. It an interesting aesthetic. I approve, as mentioned. Smile

It sounds like he knocked it out on Ableton in a single take. Which is not necessarily a good or a bad thing. But I don't need to hear it more than once.
...official SubVersion review, by Andy Popin

It's fine to comment on whole triple albums...and if you are reviewing for publication purposes other than self, it is 
just the kind of sheet you do, implicitly. But for me, there's something extra extra special about the closing (read:
not bonus) third CD that concludes Cliffy 'Goldie''s best work since "Timeless" in his triple disc mother lode, "The 
Journeyman" on Metalheadz. Not only did it manage to make this hefty rockhead shed a few tears at recent
exterior memories on my favourite piece of his whole album, the totally friggin terrific "Run Run Run" piano focused piece
(yes it has piano, go figure) but "The Instra Suites", as this ascending journey disc spanning nearly eighty
minutes and no less is titled, confirmed to me what I love best about Goldie - when he "actually finishes a tune". 
Insult? No way. 
For anyone who knows Ciiffy, whether it's just journalistically from afar like me and the average Joe, the ethic 
of putting the kitchen sink in good and proper - on each tune - is clear, and that dialectic genius he has of one of the
precious few which too much weed didn't mess up musically from the 1990s is as clear as day on, for me personally, and to
agree with Goldie for once, a better opus effort than "Timeless", the album that garnered so much acclaim. 

Let's dispense with the long-winded verbals for a moment, and just appreciate the scene. Goldie has been around. God, is
that an understatement? James Bond's assasin in The World Is Not Enough; the two left-footed Dad on Strictly Come Dancing;
faux-thug on soapy depressant Eastbenders (pardon no pun); first-year psych workout Celebrity Big Brother glam points on a 
career spanning over three decades from the foundations of B-boy graff, Reinforced Records graft and London street seller
grit and grime. It really shows on the closing dnb-turned-Detroit-tech cut "Redemption" at the end of disc three, a
fiercely inventive swipe at the hangers-on of Jeff Mills, Frankie Knuckles Chicago-an House, Laurent Garnier acid techno
Eiffels; his 'ardcore Rufige Cru life. Meanwhile as on the opener to this journey, "Natalie's Truth", "tomorrow lies in
a sculpture", which points towards the Body Of Songs project "Electric Abyss" paradox-psychology of concept construction. 

Speaking of more close-to-home, hearty influences, the sounds of "Timeless" engineer Rob Playford (Omni Trio) are dotted 
all over the analog bass balm and early club warming up sounds of "Horizon". The bass pattern plays a simple trajectory;
minor 7th addition to major 7th subtraction but the drum counterpoint reverses and kaleidoscopically explodes the flow. In
addition, musically so, glimmers of light piano and Rhodes points to roads untravelled by liquid funk since Lincoln Barret
and Dom of Calibre subtracted the stepper breakbeat multi-match and doused in the rinse-and-repeat club putty of rolling 
percussion. These sounds speak of the unspoken divide between the liquid funk sub genre and atmospheric techno, rotating
their influences like a heart-on-sleeve pallbearer passing out pamphlets of multi-faith worship at a parish. In lesser 
terms, that does not normally happen. 

The next chapter takes us down into a Massive Attack and Portishead style meander - and a great one, with utmost focus - 
called "Mountains". It's too heavy for a strictly chill station; too light for a jungle tearout station. The best kind of
description for stuff like this is "saturated hip hop", that Photek tune of the same name. This to me is better, and not
just because it's more musical, it also has production balls, not saturated fat. "Ballad Of Celeste" takes that blueprint 
and adds violin, reducing (or rather transducing) the overall granular convolution that comes with forgetting memories on
a journey as they start to happen. The album is low on lacular amnesia, to borrow from The Caretaker's titles; everything
fits into place nicely, and is recollected as a memory pure, as it should be. Nice rice-grained harpsichord irons out the
attention tenets of the time listening to "Celeste", which is "Mountains" romantic candour and counterpoint suggestion, 
also bookend with baby chuckles and samples of twinkling Poinsetta prettiness. "Castaway" ups the pace to around 162bpm by
my internal heartbeat. 

For the first time in this CD, wind instruments are ferociously introduced, darting all over the beat like a moth caught 
in a circus lightshow. Echoes of the synth used on Seal's "Killer" ("solitary brother, is there still a part of you that 
wants to live? Soiitary sister, is there still a part of you that wants to give?") sprinkle in the background like a kind 
of confetti-coloured moss; a disguised past. And that's exactly what "The Journeyman" feels like, on the whole...and a 
"glorious future past". The transition from hardcore to dnb reimagined for a less nascent, more grown up audience. It's an
absolute mind killer of a journey, to use that dnb buzz word; it takes me to spiritual and heavenly palaces of the eye and
ear without moving a finger, except those on the hand to put this in the CD player with. Everything fits into place, as I 
have stated throughout. 
It's like "The Journeyman" just came to show us that in tomorrow, and even yesterday, lies a sculpture of optimism...and
that the journey of life never ends. 

Andy Popin

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