Posts tagged Joe Goddard.
'Few could argue against the aesthetically refined talents of Cologne-born, if Berlin-bred wunderkind Marius Lauber, whose honed, Balearically-infused grooves under the guise of Roosevelt have had as many tongues waggling as they have soles shuffling to his idiosyncratically soulful blends in recent times. And, as Lauber unleashes the understatedly invasive Montreal, the disco-dappled standout from his August début EP Elliot, the endearment sensed toward him can only be intensified. Commingling the ebullient bass lines of LCD Soundsystem together with the irrepressible disco inclination of Greco-Roman co-founder Joe Goddard, Lauber’s intriguing concoction further discoloured by a gauzy Mediterranean sheen, it sonically resembles a lost late ’70s 12” edit that’ll doubtless soon become cherished by ever so many.’
Elliot is out now on Greco-Roman.
'Having combined with Hamburg house lynchpin Boris Dlugosch on Taking Over track Step Together earlier on in the year, it almost felt as though the frighteningly consistent Joe Goddard had somewhat let down me, and you, and everyone we know with a disco blitz that, if nothing else, was rather unremarkable. Well, mercifully, Hot Chip’s resident ‘Bear’ here rephrases said ditty for an alternate take, stripping the original of its laboured lyrics of familial resilience and “social networks” to instead hulk it up with amplified bass wallop, frenetic Afrobeat fever, and the meatiest build west of Hamburg. At last it therefore sounds as though Goddard and Dlugosch are now stepping out in honed synchrony.’
Taking Over is available now on Greco-Roman.
"What am I doin’ here/ With another man’s wife/ I’m shakin’ in fear/ I’m a fool."
'Adulterous words first warbled by Syl Johnson back in the ’70s here reprised by London ambient house prodigy Nepheww – née Jacob Taylor – of whom, it would appear, we’re only growing increasingly fond as we become that bit more familiar with his slight of hand and the immaculate craft thereof. If Oxgam were a work of decelerated Afrobeat genius, then Just My Luck instead evinces another side to his incontrovertible talent, as Jacob here turns his studied attentions to a neat shuffle reminiscent of Andy Carthy’s Keep It Unreal that comes replete with all these admirably subtle shifts of certain segments. Trebly keys may ascend as surly bass tones wobble beneath, their patterns ephemeral and totally interchangeable, but like an illusory Rubik’s Cube compatible with even a pair of monochromatic eyes, never are these layers and varying levels incongruously pieced together. Indeed not altogether dissimilar to an Over And Over redux you may yet keep plating up long after this year’s out, Just My Luck may just become Taylor’s calling card in time…’