“Playing For Keeps, Mole Rmx”

WAG036 scanZoom inLabelWagon Repair
Cat. No.WAG036
Orders fromTue, 25 Mar 2008
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We are thrilled to announce Hrdvsion’s third Wagon Repair release, the irrepressible ‘Playing For Keeps’ A native of Victoria, Canada, Nathan Jonson’s obsession with morphing sounds and musical hardware continues to be the main inspiration for his musical explorations. Taking influence from the unrestrained creativity of luminaries such as Squarepusher and Aphex Twin, Hrdvsion’s disjointed compositions stand in stark contrast to the more fluid output of his brother, Mathew. Ever adventurous, Nathan has spent 10 years releasing on labels as diverse as Itiswhatitis, Subpop, Traum and Plak. Musical experimentation with a focus on destroying sounds through hardware and software is within Hrdvsion part of his life. Opener ‘Playing For Keeps’ is an exhilarating trip, centered around a swinging mapped by crunching beats. Chopped and skewed, pulsing electro house melodies fight for attention with sampled cuts of big band, tiring to a slow and heavy halt before picking themselves up and punching it out to close. ‘Playing for Daddy’s Girl’ is an equally agitated reprise, introducing distorted 8-bit melodic tones and a throbbing deep bass into the fray as a sampled audience cheers on the ensuing battle for the listeners attention. On the B side, The Mole transforms ‘Playing For Keeps’ into a driving house number, with subtly escalating melodic synth growing into a deep and hypnotic dark electro sweat fest.

WAG036 in the media

2000 and one (Intacto): “well, well, well....what can i say to this crazy cut and paste work. as i said i will not play this i must say that i still like it. massive beat crazyniess and weirdness. mole rmx is more straight....”

Dan Foat IDJ Magazine (UK): “The mole mix is my fave...”

DJ Gio MC-505: “Probably this is the record of the month for me. The brother of Mathew Jonson, Nathan, deliver an incredible track, a funny experiment born as combination of some music styles. A furious cut & copy (like Ed Banger) it's the principle quality of the music by mr. Jonson. The remix by The Mole, on b-side, is more classic with intersection between electro and techno, not too far from Beroshima. ”

Dj Misk (AltroVerso / Italy): “an hazardous release for nowadays! respect for this. ”

James Flavour (Dirt Crew): “crazy stuff. more of this please!”

James Priestley (secretsundaze: “the original is far too adventurous for me i'm afraid. am a massive fan of the mole and with some cool parts in the original was excited to hear one of his loopy discoid exploits but was very disappointed that we went down the route he did. oh well. james”

Karotte (CocoonGreat Stuff): “der mole rmx war der absolute hit letztes weekend. time warp wurde richtig gerockt mit der nummer in meinem set!!! großartig!!!”

Laurent Garnier (F-Com): “Massive A side LOOOOVE ITTTTT This will rock!!!!”

Luke Slater: “Mole's remix is just the ticket for me,driving nrg,I like this alot and the other cuts ups.!!! definate play”

Resident Advisor: “ As trendy as they may be these days, there’s something that can’t be denied about heavy nu-rave stomps. Though I’ve never really explored acts like Boys Noize or Justice, their high-gain, balls out intensity has always seemed like a lot of fun. On Playing for Keeps, Nathan Jonson (kid brother of Mathew) captures that raucous sound, but he does so with a bonkers sensibility that will appeal to the non nu-rave set. ‘Playing for Keeps’ and ‘Playing Daddy’s Girl’ are variations on the same theme: choppy big band samples nestled up against menacing synth arpeggios. The drums are thick and heavy, strutting along at a steady 130bpm with strings and horns burble frantically, giving the track a weird sense of humor that harkens back to ‘Crescendolls’ on Daft Punk’s Discovery. Though the title track is stronger, both cuts are rambunctious and irresistible party tunes. On the b-side, The Mole remixes ‘Playing For Keeps’ into an eleven-minute loop house track. While the original track begins and ends abruptly, the Mole’s remix features a roomy intro and outro, allowing for more mixing creativity. Much like ‘Baby, You’re The One’ or Pitto’s ‘Sexvibe’, it is lean and minimal, despite its colorful house aesthetic. Overall, this EP is somewhat of a cheap thrill. It does little more than take a popular sound and perfect it, but there is certainly something to be said for that. Though it may be too sugary to have much of a shelf life, these are powerful electro-house romps that will definitely grab anyone’s attention the first few times around— a nice dose of maximal for minimalists.”

Technodisco IT: “si scrive Hrdvsion ma si legge Hardvision. E’ l’alter-ego di Nathan Jonson, fratello del più noto Mathew, che per l’occasione ritorna su Wagon Repair col suo terzo esperimento dopo “Sick Memory” e “Gary White”. Ossessionato dall’esplorazione parallela di più mondi musicali, il canadese illumina la sua creatività coi laceranti tagli alla Squarepusher ed Aphex Twin: “Playing For Keeps (Daddy’s Angel)” è piena di energia disarmante, soprattutto per il vivace contrasto creato tra gli stili frullati al suo interno (funk, jazz, techno). L’interscambio continuo tra analogico e digitale poi rende ancor più entusiasmante il trip e “Playing For Daddy’s Girl”, una sorta di reprise, ne è la conferma, tra ritmi agitati e suonini spasmodici ad 8 bit frastagliati secondo un metodo di lavoro molto simile a quello di acts più popolari come Digitalism o Justice. A mettere ordine nella stesura e far combaciare tutto sui canonici 4/4 è The Mole con un remix che riduce il ‘disordine creativo’ di Jonson a favore di un autentico anthem electro-techno che ricorda il più agguerrito Beroshima delle annate 2002-2004. Wagon Repair: una continua sorpresa per le nostre orecchie.”

vibe mag (ger): “Als Hrdvsion glänzt Nathan Jonson (Bruder von Mathew) mit seiner dritten EP für das kanadische Label. Herbert oder MMM steht auf einigen stilistischen Wegweisern – willkommen im funky Discosoundkosmos! Bereits bei „Playing For Keeps“ fliegen die Cut-up Funken à la Ed Banger auf einer Electro-House-Kreuzfahrt inklusive Trompeteneinsatz. „Playing For Daddy's Girl“ hat ein ähnlich gestricktes Motiv und spart ebenso wenig mit Veränderungen. Am geradlinigsten steuert „Playing For Keeps“ im The Mole Remix durch glasklare Gewässer an sichere Strände, an denen sich House oder Techno austoben sowie wohlfühlen. Hrdvsion war und ist einer der experimentellsten Produzenten bei Wagon Repair. ”

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