As a total devotee of German culture, and especially electronic music coming from Berlin and Frankfurt, I have over the years amassed a vast array of records from Deutchland that ranges the gamut from deep house à la Isolée, early techy house stuff such as Losoul, minimal à la Maurizio & Basic channel or almost glacial ambient structures such as Monolake. However, one has to admit that the vast majority of German producers are more known for their techno or electro side than the funky side of house music. Despite the fact that Germany was known to have a vibrant psychedelic scene in the late 60’s and a burgeoning jazz-fusion scene (Think Klaus Doldinger of Das boot OST fame) Germans have never really been associated with a keen sense of funkiness especially in house music. However, the last decade has seen Uwe Schmidt delve into funky lounge covers with his Senor coconut project and more recently in Mutek of june 2010, I have been mesmerized by a new project called Brandt Brauer Frick. Three young musicians joining forces together for this exciting acoustic techno project, as Daniel Brandt and Jan Brauer, made a team with Paul Frick, who has studied classical and modern composition with Friedrich Goldmann at Universität der Künste Berlin. With prepared piano, vibraphone, drums, various percussions, brass and string instruments, rhodes, bass guitar and analogue synthesizers the trio creates textures that may bring to mind Steve Reich as well as the oldschool loop techno. Experiment meets deepness, complexity meets minimalism. The generation of the sound is mostly acoustic – even the bassdrum. Only few electronic instruments complete the sound. Brandt Brauer Frick also succeeds live as a thrilling synthesis of club and concert hall. On both platforms they present themselves, getting percussive with energetic sounds out of apparently harmless classical instruments. Yet they sound incredibly funky. Those Germans would make George Clinton proud.
Brandt Brauer Frick : Iron man / Tartelet records
John Barry, is an English film score composer born in 1933 best known for composing 11 James Bond soundtracks and was hugely influential on the 007 series’ distinctive style. In Goldfinger he would perfect the “Bond sound”, a heady mixture of brass, jazz and sensuous melodies. There is even an element of Barry’s jazz roots in the big-band track “Into Miami,” which follows the title credits and accompanies the film’s iconic image of the camera lens zooming toward the Fontainebleau Hotel in Miami Beach. The instrumental Golden Girl was sampled by The Sneaker pimps on “6 underground” as Barry was also responsible for providing Fatboy Slim with the bassline of Rockafeller skank on which he used Barry’s Beat girl. On both songs you can hear tremendous arrangements, as the bass hook in Beat girl was almost made to be sampled with a simple line yet dam funky. Beat girl comes from 1960 and Golden girl, 1964. From 1:05 to 1:10 this song has the accurate harp melody used by The Sneaker pimps whom have looped the sample faster. For fans of 007 and downtempo 🙂 Now make me a vodka martini, shaken not stirred.
John Barry : Golden girl [1960 : Goldfinger soundtrack]
Sneaker pimps : 6 underground [1996 : Becoming X]