Derrick Carter & Mark Farina: Live From Om, Volume 2

Stefan Braidwood

Derrick Carter & Mark Farina

Live from Om, Volume 2

Label: Om
US Release Date: 2004-07-13
UK Release Date: 2004-08-09

I have a confession to make. I am a house music fan in exile.

I used to be a (deep) house zealot, resisting all attempts by my friends and musical acquaintances to turn me on to the more kinetic and above all less commercial world of drum 'n' bass. Yes, my some of my friends are elitist, obscurist dance music fiends (as they probably should be), and given the fate of house music over the past decade or so, I often felt like a pop devotee trying to defend the genre, post-Mouseketeer brigade (as a matter of fact I am a pop devotee, but there are some things beyond the grasp of mortal man). Then I absconded for a while into the world of underground electronica and hip hop, as one does, and when I returned things were... different. Drum 'n' bass had regained its funk, its flair and a slightly more open-minded fanbase, the lithe rhythmics and immense bass of the cream of the current crop proving very attractive to me. House, meanwhilst, seemed to have become a fairly aimless zombie of its former self, with good tunes or imagination in desperately short supply over those relentless four/four beats, simplistic bass lines and terrible pasted-on pop-diva vocals. Now, some people might say this trend has been going on since before I started listening to house, but being unable to see what the DJs on the radio were getting excited about, being repelled by house music: this came as something of a shock.

Which was precisely why I pounced on this double live album, recorded by two of the most acclaimed DJs in the business, like a man on a three-legged rabbit after two weeks in the desert. Recorded at Mezzanine in San Francisco on Valentine's Day, it's an attempt to promote a back-to-basics approach in a house market saturated by sequenced, sterile studio mix albums. What better way to find that lost vibe than out on the dancefloor with an enthusiastic audience whilst Mark Farina, beloved curator of the Mushroom Jazz series and all-round good guy, is on the wheels of steel, only to be succeeded by Derrick Carter, house legend and reliable bringer of that boompty boomp? I was already grinning in hope.

As you may have worked out from this review's subtitle, things didn't quite work out like that. Of course, a DJ's choices are somewhat limited when it comes to a mix that's going to have to be licensed sometime before Armageddon; out go all the dodgy but fun mash-ups and the groovy white label DJing tools from parts unknown. And you couldn't accuse the sets on offer here of being limited to one area of house music: although things stay fairly chunky and straight-ahead, the jazzy and soulful sides are also blended in nicely. Neither could any fault be found with the mixing; in fact if anything the smoothness of the segues contributes to what I feel is the main flaw of Mark Farina's set: it seems too pre-determined (as of course it had to be to a certain extent), and whilst he keeps the beats coming, there are no real peaks or troughs (not always a bad thing, the latter) to his flow. The scatting on DJ Freestyle's remix of "The Sessions" gets a nice itch going under the skin, and the To-Ka Project's "Revolution" takes things out into the mesmeric deep for a short while, but there are no really arresting tunes, just reasonable grooves.

His long-time friend does better, upping the general tempo, chucking a few classics in, keeping the beats slightly skippier and being more ready to drop them and switch to a different rhythm unpredictably, keeping things rougher and more exciting, as one would expect from him. Despite this, and whilst the Carter's mix makes good driving music, there remains the feeling that the project as a whole is slightly hamstrung between licensing issues, dancefloor-set directness and an involving home listening experience. Indeed, my overall impression of these two CDs is of a pretty good party presided over by exceedingly skilled DJs; yet sadly (and crucially) I never felt that I was present at something spontaneous or really exciting, nor was I blown away by any of the tracks on offer. Consequently, whilst enjoying the music to a certain extent, I never really wanted to join the crowd on the dancefloor.

Perhaps it's just me. If you're a house head, the two names on the cover will doubtless get you to shell out for the album anyhow, and maybe you'll be blown away. Good for you. Anyone for some dub?

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

Keep reading... Show less

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

This week on our games podcast, Nick and Eric talk about the joy and frustration of killing Nazis in Wolfenstein: The New Order.

This week, Nick and Eric talk about the joy and frustration of killing Nazis in Wolfenstein: The New Order.

Keep reading... Show less

Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

Keep reading... Show less

Gabin's Maigret lets everyone else emote, sometimes hysterically, until he vents his own anger in the final revelations.

France's most celebrated home-grown detective character is Georges Simenon's Inspector Jules Maigret, an aging Paris homicide detective who, phlegmatically and unflappably, tracks down murderers to their lairs at the center of the human heart. He's invariably icon-ified as a shadowy figure smoking an eternal pipe, less fancy than Sherlock Holmes' curvy calabash but getting the job done in its laconic, unpretentious, middle-class manner.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.