Skip to main content

The Glue - Without You (Sccucci Manucci)



Sccucci Manucci's 'Three is a Crowd' EP is right around the corner (a few test pressings were up on Juno and lasted a few minutes, so you'll have to be patient a few more weeks for the proper record to arrive). Perfect timing for a few words about the ever-likeable Sccucci imprint then.

I got to meet up with (superfriendly) label boss James Vorres over at ADE for a few beers. We talked about the label's name - which James admitted means absolutely nothing in Italian and is impossible to spell correctly -, clever ways of making your significant other believe the records you're bringing into the house are gifts/demos/incredible finds at the charity shop/left by some div at the station can you believe that? /etc and exploding record cases in Ibiza (a bizarre chain of events involving a lazy customs official, Tal M Klein's recordbag, a bomb disposal unit and a not so happy ending).

We also got talking about the release at hand here, which features tracks by Toomy Disco, South West Seven, Aeromaschine and The Glue. "Is it good?", I hear you asking? Well obviously it's good, you son of a silly person, it's a Sccucci release. I'm not going to sing praises to all the tracks here, but will single out one tune instead: The Glue's 'Without You', a really strong contender for the Sleazy 'rework of the year' Award for me. Which means a lot in a year in which the amount of reworks we get sent easily outnumbers all sketchy Nigerian investment offers, fake university degrees and penis enlargements opportunities combined.

I've been a big big fan of the work of the boys behind The Glue (who, as fellow Sleazeman Kris P got to witness when he played alongside them in Bergen, Norway, always dress up in a bunny and bear suit when they DJ out) for quite a while now. They popped their vinyl cherry with A Broken Heart on Untz Untz last year. Sharing a record with Rayko and totally overshadowing the Spanish edit meastro: no mean feat. Fastforward to release number two: a spot on Kolour LTD's ace I Love You But I've Chosen Disco Sampler earlier this year. Again, the Glue deliver the stand out cut with 'Real Good Lovin'. What makes these tunes so special is a combination of awesome source material (80s casio soul pop with a twist), clever chopping, fine programming and additional production (also see the WIKI "how to build a mesmerizing, moody, irresistable track").

Back to Sccucci again, and 'Without You' in particular. When I asked James about this track (I'd heard a demo before) he went 'ah yeah that track that really takes off halfway through'. And that's exactly what it does. Again, the source material is perfect (Marlene Shaw's Without You In My Life) and cleverly cut up over moody and deep hypnothising drums and swishy pads. You'll need a second to get used to the pitched up vocals here (Alvin and his chipmunk pals seem dangerously close at first), but once you do it's part of the charm and enchantment of the tune, which goes on nicely for a few minutes when bam! the track takes you straight into cosmic lala-land. I can't really explain it, best listen below:



There's just one thing I don't like about this record, and that is that its release will most likely coincide with our own release by Dead Rose Music Company. This will be some mean mean competition...

Support the tache and buy this here

Comments

  1. Yeah, that was a very sad ending to a pretty decent tour. Thankfully James styled me out. Good people!

    ReplyDelete
  2. Nice article... and it was great meeting up with you! Same again next year? :-)

    ReplyDelete
  3. I think both releases should fight to the death using old bent needles! A well deserved reccomendation for this release.

    ReplyDelete

Post a Comment

Popular posts from this blog

Sleazy Team ~ Best of '16

Jebus, another year gone by already? Time sure flies when the world's going bonkers and the masses are bent on sticking all their eggs in one giant smelly basket and having Farage, The Donald and a host of other lunatics break them all at once while laughing hysterically.

All farcical geo-political madness and neo-patriotic nu-bigotry aside, 2016 was a memorable year for us at SB. We tricked The Popular People's Front - our heroes, the originators! - into doing us the final record in the Black Ops series, which sold out in what seemed a nano-second. After burying the Black Ops project with a sniff and a tear, we launched a new imprint, Make Believe Disco, with French prodigal kid Folamour handling the inaugural release, which, unbelievably, also sold out from the distro on day one.
At the tail-end of the year we sat down in our cabin in the woods, started a fire and got the s'mores going, while looking back on 7 years of Sleazy Beats. We agreed that in spite of our valian…

Mori Ra - Oriental Forest (Forest Jams)

Recently Guy & Kris asked for support to keep the Sleazy blog running and to bring fresh mojo to the sleazyverse. When Luvless told me about their cry for help I immediately wrote Guy and offered my help.
Some of you might know me frommy productions as Martin Hayes for Razor-n-Tape, Rose Records and recently In Any Case Records.
I’ve been reading the blog since the early "gallery of awesome people“ days, to which I actually contributed a picture (mugshot obscured by skimpy knickers, if you have a copy of Frank Booker's record on Sleazy Beats, try and spot me on the cover!). Now let's get crackin' with my first review.
Possibly you’ve never heard of Mori Ra before, but that should change before long. The Osaka-based dj, record collector and producer managed to fly under the radar for a good while, but after a string of fantastic records on Macadam Mambo, Passport To Paradise, Most Excellent Unlimited and a recent sureshot edit of Yoruba Singers’ Black Pepper (on Left …

V.A. - Quartet Series 001

I remember meeting Maurits (Nachtbraker) for the first time in Amsterdam a few years ago in a bar in the western part of town, where we both happen to live. You never quite know what to expect with these 'producer' types. I've been in the game long enough to know there's a lot of bullshit going around, but right off the bat it was clear Maurits is no chip off the bullshit block though. At the time he had his first release out on Dirt Crew and some things lined up with Heist and was about to finish his degree at university. Over the course of way too many beers and lots of merry banter he explained he wanted to have a go at making a living out of this music thing. The plan was to sign up with an agency, release records through Dirt Crew and Heist and eventually set up his own imprint. This is usually the point where my bullshit swing-o-meter starts peaking, but even through my beergoggles I could tell this goodnatured soul with his winning smile meant business (even if…