Music

Applescal: A Slave's Commitment

Backed by an affinity for the digital tricks dealt by Nathan Fake and Extrawelt, new producer Applescal's techno is vibrant and varied.


Applescal

A Slave's Commitment

US Release Date: 2009-08-18
UK Release Date: 2009-08-24
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Alongside the other playful and overtly splashy releases from the Traum label in recent months, new producer Applescal is a force. Born Pascal Terstappen, Applescal executes his abstract techno with discernible influences who linger in the acid-washed minimal corners of the genre (James Holden, et al.). A Slave's Commitment reflects an interest in progressive house/techno productions as well as gauzy midtempo electronic. These productions are fitted with lots of development, jumping from jittery glitch to gentle, washed-out psyche, to hard dance music. Despite where you stand on the left-of-center techno scale, there is likely something here for you.

Applescal's debut album is a stimulating collection of sometimes urgent minimal and slowly cooking bedroom techno. Much energy is spent on strictly dancefloor rhythms on A Slave's Commitment, but the melodies are plentiful, and the Holland-based producer is reluctant to allow for a moment's peace. Not unlike Max Cooper's methodology on the delightfully ornate Symphonica 12-inch that Traum issued a few months ago, Applescal utilizes a spectrum of different tones and clusters of warm software synth sounds. The sonic variety, in structure and general aural appeal, makes for a monster of a record. It packs more bottom-end than Cooper's spirited tech house (in that respect, perhaps Applescal's efforts are closer to Ricardo Tobar's, a frenetic couple of records from him have appeared on both Traum and Border Community) or Booka Shade does, but A Slave's Commitment is just as soul-stirring, with summery synth loops and a steady stream of chirps buried beneath its prominent chord progressions. Backed by an affinity for the digital tricks dealt by Nathan Fake and Extrawelt, each of these cuts is more out-there than the next.

Swirling field noises find a pattern amid a pounding kick and looped central notes in temperate opener "The History of Love", which is immediately brighter than "Structural Stage" from his 2007 Untitled Addict EP, but the second entry on A Slave's Commitment definitely looks back at the title track on his two-year-old work. "Nottingham Hobbits" is drowsy and frequently fuzzy, a la Ochre's Lemodie or M83, with a slumping midtempo beat and loads of synths. Although there is more in the way of dreamy film score-type stuff here ("Music for Her Ears"), I prefer the more propulsive entries, as Nathan Fake exhibited a mastery over hazy electronica years ago on Drowning in a Sea of Love.

Over the span of 11 minutes, "The Forms of Abstract Life" and "How Heroes Die" offer an explicit portrait of Traum's perplexing, blissed-out aesthetic with charm and plentiful headphone-prepped dynamics. Applescal slips one array of sparkling chords against another on the former, with slow, gloopy surges creeping in as if he were manipulating them on a turntable. "How Heroes Die" sounds a great deal like Gui Boratto's 2009 LP in its rainbow-streaked, pop song-inspired grandiosity. After this lively segment rolls to a close, Applescal's aggressive, breakbeat-driven frenzy "The Red Dress" channels a number of different artists whose presence is otherwise nowhere to be found on A Slave's Commitment. Outside of Applescal's remix of Local Daddys' "Sjeesh Up" -- an onslaught of aimless lyrics, narrowly defined tones, and a rigid, steady pace that nearly sullies a really strong run -- the surprises here are fascinating, and the tide of melody and distinctive structures delivers in every capacity.

7

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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