“Too Many Kids Finding Rain In The Dust (Pépé Bradock’s Blind Pig Mix)”
CIRCUS COMPANY (3661585930600, 12” + digital)
A New Yorker with a Chilean childhood and French elegance, when it comes to making house music, Nicolas Jaar is a producer who doesn’t belong to any place or time. That makes him great and, at times, unique on the present electronica scene, and he’s still a kid, so to speak. Who knows how far he’ll go. For now, there are three Nicolas Jaars: the transparent one, as heard on the album “Space Is Only Noise”, the one devoted to black music and sophisticated house, as heard on his EPs for Wolf + Lamb and the one who plays live, with a band (bass, drums, sax, turntables), and although those three faces work at different speeds and look for inspiration in different corners, all of them form a polyhedral Nicolas Jaar who has good taste running through his veins. The studio Jaar, the one who made the LP earlier this year, lacks BPMs and dancefloor-orientation: it was the only “but” one could say about the album, if that were really necessary. But if anyone wanted beats for the silky fabric of pop, jazz and lazy ambient like “Space Is Only Noise If You Can See” or “Too Many Kids Finding Rain In The Dust”, there’s always the remixes.
There’s four of them, but they sound like two: Pépé Bradock, of all the French house producers the one who’s probably closest to Jaar, offers three different interpretations of “Too Many Kids”, getting the most out of the tune. The first take, the “Blind Pig Mix”, is up-tempo, brings up the BPMs lacking from the original but conserving the bundle of polluted airs until you can’t hear the difference between chaos and ecstasy anymore. The second, “Train Fantôme Poke”, slows it down and plays around with humid basslines, the silence between the sounds and, even so, it manages to hypnotise with a subterranean and porous beat like only Pépé can make them; and the third, “Mirandapella”, goes up for a few seconds only during the five minutes of its duration, where the vocals are the stars (louder and with more echoing) along with the romantic nightmare-like textures. He could have done one colossal, 17-minute remix, but the Parisian chose to divide it in three epic mini remixes for different uses, and we should bow down before him for it. After that, the efficient house varnish applied to “Space Is Only Noise If You Can See” by Dave Aju sounds a bit thin, as if a huge shadow belonging to a masterpiece were covering his good effort.