Find My Way, a new house track from Chris Coco and Jim Breese appears on the Rising Music Autumn sampler for Amsterdam Dance Event.
Chris Coco’s weekly radio broadcast. An eclectic selection of brilliant new music starting with house and moving on to electronica, downtempo, acoustic and all sorts of other styles loosely connected to dance and electronic music. Let tastemaker Chris Coco guide you through his selection of the week’s best new music. This episode it’s all about house music and robots, late night grooves and the endless electronic four four beat. Oh, and a little bit of indie… and disco… and, well, you’ll see… [setlist] 1 Elbee Bad – New Age House – Rush Hour 2 Odd Parents & Maceo Plex – Get Enough (Mark E Remix) – Leftroom THAT FUZZY FEELING (TUNE OF THE WEEK) 3 Jack Dixon – E – Hotflush 4 Daphni – Cos-Ber-Zam Ne Noya (Daphni Remix) – Jiaolong 5 Los Amigos Invisibles & Dimitri From Paris – Glad To Know You (Ray Mang’s Flying Dub) – Gomma 6 System Of Survival – Baby Don’t Stop – Culprit 7 No Regular Play – Never Had Enough – Wolf + Lamb 8 B Fleischmann – Don’t Follow – Morr Music STRINGS, WOOD AND A BOX OF AIR 9 South Of France – Tribeca – Digital File 10 Tame Impala – Endors Toi – Modular 11 Chairlift – Sidewalk Safari (Dan Carey Dub Mix) – Young Turks 12 Soulcenter – What You’re Doing To Me (Acid Pauli’s Acid Dub) – Crosstown Rebels
Despite evidence to the contrary (see picture) I think the doors of opportunity are still open. I have to embrace new (see instagram picture) and use the best of the old to make up for the new’s deficiencies. So, by way of illustration, here is a picture from Bristol of the the more traditional way to work. As you can see it’s a bit difficult now. And a picture of Cross Bones Graveyard, an ancient place of rest for the prostitutes and the poor of The Borough, with a slice of Shard in the background to keep it contemporary. What I mean is that I am trying to feel it not fight it (as Primal Scream once said, sort of), channel artistic energy to create good stuff, then worry about how that becomes work, if that becomes work, how that makes money. I know it’s not much of a business plan but it is, for better or worse, what I do. So what I mean is, this is what I do with added new, and a bit of old. There, now it’s totally clear, isn’t it?
Here’s the artist having his portrait drawn by himself, in the form of five robot arms, each wielding a Bic biro and skillfully sketching on a piece of paper pinned to an old school desk. This is the private view of the latest work from Patrick Tresset. There are five robots on show, all called Paul, and they draw the face of the person seated in a big chair in front of them. Paul number four, at the back of the class, is a little willful, he will sometimes scribble all over his work before it is finished. Patrick programmed the Pauls and spends most of the evening in the chair, enjoying the spotlight while keeping a close eye on his unruly robotic pupils. James McArthur and I, meanwhile, are in the corner, playing robot music to soundtrack the event. James is using vinyl records played on record decks. I am using digital files played on imaginary decks on my iPhone. It’s the first time I have DJed using a phone, but it seems appropriate for this human meets machine evening. Kraftwerk, Phuture and Sensate Focus feel like they work, as well as some more obscure deep techno and post house. We spin music that sounds like machines; the robots draw pictures of faces like humans.