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Jad & The sends off the Ladyboy (fka Jad & The Ladyboy) and has a Going Away Party to celebrate. The party starts off with some Sad Cries (it’s always sad saying goodbye), then the Yeah Band starts playing to take peoples' minds off their sadness, after their afrocentric set the guy who always has the discogs window open and 7 inch adapters in his pockets jumps up and plays a Disco Dancefloor Tool designed to tease but please. Now that everyone's warmed up and ready for it, the next DJ drops some Underground Real Shit which even gets a nod from the high brow DJ squad in the corner. The twelve people there lose their shit. Great night had by all.

Mike Simonetti

Solipsism (Collected Works 2006-2013)

"Solipsism" is an archival release of music from Mike Simonetti's tenure as owner of Italians Do It Better Records, spanning from 2006-2013. During that time Mike wrote a lot of music. Some of it was used for films, some for TV commercials, some for fashion shows and he even released a record or two.

Influenced by the intersection of 80's arena rock bands like AC/DC and Judas Priest, glam rock/dance bands like Rockets and Supermax, and especially the underground Italian producer Piero Umiliani - the album is chock-full of atmospheric rock-inspired arpeggiated riffs. The mixture of metal and chugging dance music makes for a unique listening experience. Every song has a riff, every song is heavy and dense. Only one song goes above 118 BPM. These are heavy chuggers that make for a tense emotional experience that exceeds your standard, easy-to-write-off “soundtrack” fare, mainly because it was never written with that in mind. It was meant to be a fist-pumping arena rock inspired thumper! You can hear that in the one two punch of “A Prayer For War” into “Illusions", which is an outtake from his "The Magician" sessions. Other songs like “Solipsism” showcase the airy melodies of that were to come with his other project Pale Blue, but that is not typical on this album. If you listen closely, you can hear how Simonetti’s music and dark vibes inspired his then label partner Johnny Jewel to take his own bands Chromatics and Glass Candy in a different, more cinematic direction.

This was written and recorded years before the Drive soundtrack and all the hoopla around the sudden soundtrack resurgence. In 2011 Mike was asked to submit some songs for a soon to be released Hollywood remake. He submitted most of the songs from this album, and they were slated for release on the soundtrack, but the project fell apart, and the film went in a different direction and changed producers. Soon after, because of all the drama and foolishness, he left Italians Do It Better to start over with 2MR and Pale Blue. This is the nail in the coffin. Godspeed.


FORMAT INFORMATION

Ltd LP Info: Comes with bonus 12".

Last spotted tomfooling as Tryck & Ton with Edvin Edvinsson, and prior to that as Tiedye on Mike Simonetti’s Italians Do It Better imprint, subversive Swede Anton Klint makes his debut on Simonetti’s latest label 2MR with two more vitally trippy, heavily dub-informed originals. 
‘Mun’ chugs at a stately 107. Rippling in places, squiggling in others, there’s an unabashed FX weirdness bubbling and popping over the insistent shimmering dubwise groove. Tweaking, freaking but running at such a smooth temper there’s space between the chaos, Anton is balancing some heavily hypnotic alchemy here. ‘Strupe’ takes things even lower and slower. A dusty bluesy chugger, unhurried-yet-relentlessly building with a great sense of cosmic drama, listen and marvel as more elements are precision introduced throughout the seven minute trip. A masterclass in modern day honkytonk. Remix-wise we’re thrusted into the later hours with a technoid twist from Andre Laos. Maintaining Anton’s original’s trippy charm and measured pace but re-amping it with grittier foundation, teasing risers and an insurgent synth strike, it’s the perfect complement to one of 2MR’s most singular releases to date. Open wide.


STAFF COMMENTS

Patrick says: Killer weirdshit from Swedish hero Anton Klint here, who warps dub tempo, synth strangeness and wonky house into a slow tempo strut for 'Mun'. Andre Laos straightens things out a little on his remix, then goes for the jugular with a series of trilling synth lines. On the flip Klint dons his space suit for the bluesy sleaze of "Strupe" a next gen cosmic bomb for all the renegades out there.

Piccadilly mainstay and Italian disco extraordinaire Bottin sees a full length album released via 2MR - Mike Simonetti's classy New York dance label. No concept this time round (see: "Horror Disco" & "Punica Fides"), just solid production and songwriting throughout. "L'Amore" sets the tone with its concentric arpeggios and propulsive beats, immediately signifying the mood for what is to follow - a trio of electro-disco hits washed in synth glaze and charged DC currents. Those familiar to the 'Bottin' sound will lap this opening side up with glee, especially the contextually titled, "Microdisco" - a subdued but epic slice of synthesizer euphoria, beautifully and elegantly constructed. On side B we see more tantalizing aspects of electro-disco explored with aplomb, "Stellar Parade" kicking off what is to an arresting side of music which takes on the charging rainbow road brilliance of "At Twenty-Three" and the dark electro-pop of "It’s Ok It’s Not Ok " before concluding naturally with the slow paced swell of "Varosha" and "Long Trail". Phenomenal collection of tracks by this electro-disco wizard. Highly recommended.

Kedr Livanskiy

Ariadna

    This is the first proper full length from 2MR (the Omnian Music Group label run by Mike Sniper (Captured Tracks) and Mike Simonetti (Italians Do It Better). Kedr Livanskiy is based in Russia and won the Russian Electronic Artist of the Year Award in 2016. Moscow's Kedr Livanskiy (real name Yana Kedrina) confesses "Synthesizers help me maximally feel the present moment." Livanskiy was born into a shifting and critical time for Russia. The Soviet Union had exhausted and old values were anathematized because of reconstruction.

    A sense of displacement drove Kedr to find herself. She's escaped reality repeatedly in her explorations into the imagery and ideas of romanticism, mythical and fairytale themes which visibly bleed throughout her work and especially on her debut full-length 'Ariadna'. The title track which was named after the Greek goddess, Adriane, debuted via THUMP who've described it "anchors its elegantly drifting shoegaze melodies with a knocking electro beat."

    'Ariadna' marks a change in her recording approach: her critically acclaimed breakthrough EP 'January Sun' was written and recorded completely in Ableton, while 'Ariadna' was written using the Roland SH-101, Roland Juno 106 and Korg Minilogue synthesizers, then mixed down in Ableton. According to Kedr, "This way, one gets into a flow of live interaction, here and now, with the instrument." There is a definite leap in production values this time around, but Kedr manages to keep true to her sound despite the greater polish and depth. Keong / Chris at Good Machine PR do all of the captured tracks related things, which includes 2MR.

    None of the Above aka N/O/T/A is an escape from reality plan. Made in between London and Toronto, it joins Dinamo Azari (AZARI & III) and Mixhell's Laima Leyton and Iggor Cavalera (SEPULTURA). Eager to collaborate and make music in a non compromised way, the trio brought together live and electronic drum beats, strong bass lines, unexpected samples and dark synths to an unknown place. It is none of the genres we are listening to nowadays but it still brings together a live feeling of techno, industrial and acid.

    Deardrums

    Aquila

    The elusive 2MR record establishes some firm roots here at Piccadilly as we get some back catalog and a brand new release in this week. 2MR is a NY / NJ electronic label run by Adam Gerrard, Mike Simonetti (ex-Italians Do It Better and Troubleman Ultd.) and Mike Sniper (Captured Tracks). With an already impressive catalog, covering noise, ambient, dark acid and deep house and everything in between we're fully endorsing this fresh US sound here in MCR. This EP from Deardrums (no other than Bottin and Leo di Angilla), number 3 on the label is a beautifully narcotic take on that analog / hazy house sound purveyed by post 2010 labels from Future Times and Mood Hut to Sex Tags Mania and Proibito. "Aquila", once you've got past the trippy, spring-reverberated drum introduction, slowly transforms into a more electrified, sazzled version of "Falling Up" (Theo Parrish / Carl Craig). It's really hard not to mention the obvious influence this iconic track's had on "Aquila", but don't let that take anything away from this jam. Thoroughly tension-built and atmospheric till the end, this baby's gonna be perfect for warming up the club into a sizzling frenzy early doors. On the flip we get two odd-ball, wigged out disco-not-disco / house tracks that play with grain delays, discord and twangy sounds in equal measure. Again, should appear to left field house crews from 10 Inches Of Pleasure to the Idjut Boys Noid and Droid imprints. TIP!

    The final flurry this week of record label 2MR, a NY / NJ label from Mike Simonetti (ex-Italians Do It Better and Troubleman Ultd.) and Mike Sniper (Captured Tracks). Four tracks working around concepts of resolving distance and embodiment of mind. Sounds slur to embrace uncertain and complex rhythmic structures; for undoing gaze. Realized with field recordings and analog synthesis; with minimal overdubs.

    Lack is gritty cathedral expansive new age, modern composition, growth electronics, and further techno abstraction by Philip Maier of NC, USA. Previous releases on Morphine, Grovl Tapes, Tone Log, Hot Releases. 



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