Archive for the MAURICE FULTON Category

SYCLOPS ( I’ve Got My Eye on You…the review)

Posted in Leftfield House, MAURICE FULTON, SYCLOPS on July 7, 2008 by bangtheparty

First, read this sentence: Syclops is a trio featuring Sven Kortehisto, Hanna Sarkari, and Jukka Kantonen, with Maurice Fulton behind the boards. Then, re-read it with scare quotes around everything except Fulton’s name, and maybe put scare quotes around those scare quotes, just to be safe. This new DFA “group” (see how that works?) doesn’t submit to interviews, perform live, manifest any Google results unrelated to Syclops, show up on film or in mirrors, have fingerprints or dental records, etc.

Fulton’s penchant for epistemological sleight-of-hand explains why a guy who’s done top-hole remixes and production for Annie, Hot Chip, and Kathy Diamond, and whom is half of Mu, can keep such a low profile. Put it this way: Syclops features the Tin Man on keyboards, the Cowardly Lion on bass, and the Scarecrow on drums, with Maurice Fulton as the Wizard of Sheffield. Pay particular attention to the man behind the curtain.

And anyway, who cares about biographical shenanigans when we finally get what’s ostensibly a proper solo album from Fulton? If he needs to be left alone to make music this good, we should let him be. I’ve Got My Eye on You (rim-shot optional) is DFA’s second direct-hit entrance this year, a contemplative counterpoint to Hercules and Love Affair‘s flamboyant debut.

The clinically exact robo-funk of early single “Where’s Jason’s K” was almost too polished for its own good, but luckily, the acidy B-side “Monkey Puss” (which isn’t featured here) turns out to be a better representation of the album proper: It’s visceral and lyrical, thumping as jaggedly as a distressed cardio patient’s EKG.

We might not get “Monkey Puss” on I’ve Got My Eye on You, but we do get “The Fly”, which features the same kind of strident, Morse code melody, artfully stuttering and ghosting out, interpolated by overdriven bass. It’s a bit like French producer Vitalic’s jaw-clenching vigor, but where the latter tends to plow down the center, Syclops utilizes every minute degree of stereo channel space.

Opening track “NR17” traces a labyrinth of pitched percussion and barely audible sub-tones through your headphones, as flying saucers circle ominously; one imagines that Fulton’s studio comes equipped with a protractor, compass, and tinfoil hat.

These extreme but seamless contrasts– of physical and synthetic sound sources, hectic and placid moods, tricky and candid patterns– typify the album. The loping “5 Out” splashes sprightly lounge piano over clipped vocal samples and sawtooth synth waves. On “The E Ticket”, shaggy jazz drums launch a bass workout flecked with crystalline arpeggios and periodic synth washes. “Mom, the Video Broke” is sort of a mirror image of “The E Ticket”– the latter starts off tight and gradually widens like a cone; the former turns its jazzy percussion into jackhammering mechanical drums as the elongated synth-bass riffs move through fiddly variations.

The title track’s reverb-brushed percussion verges on musique concrète, at stark odds with the celestial fluff drifting around it, and “Naoka’s F”, with chords radiating through a vast array of torqued pings, chirrs, and blips, feels like the view from an airport’s moving walkway– a respite from harried striding, as busy scenery rolls tranquilly by.

Overall, I’ve Got My Eye on You is the sound of preternatural studio expertise being pressed into the service of the listener’s delight. The delicate melodic structures and decorative rhythmic patterns seem to want to please us, rather than just impress us. This befits someone who goes to such lengths to isolate his name and ego from his music, and results in a lot of terrific moments, like when the hushed ambiance of “A Lovely Sunday” suddenly lights up with surprising but weirdly apt G-funk whistles. Fulton’s bio remains shrouded, but this album tells us that he’s a generous and kind of crazily brilliant producer, which is all we really need to know.

click below to listen

SYCLOPS – Fairlight Sunrise



Posted in 1 BANG THE PARTY events, MAURICE FULTON on June 11, 2008 by bangtheparty

Andycapp & Maurice


Posted in Interviews, MAURICE FULTON on April 1, 2008 by bangtheparty

RBMA: »This is Maurice Fulton, he lives in Sheffield currently, he has lived everywhere else in this world, please give him a warm welcome (applause). So Maurice, before we start doing our little bit of hands-on session, we should maybe talk a bit about where you’re coming from musically and what were your formative experiences in the world of merry music.«

Maurice Fulton: »Musically I come from Funk.«

RBMA: »Funk as in Parliament, George Clinton«

Maurice Fulton: »George Clinton, Funkadelic. (to participants)I don’t know if you’re all familiar with Parliament/Funkadelic. Yes? Especially Funkadelic. It’s what got me into music, period.«

RBMA: »What’s the difference between Funkadelic and Parliament?«

Maurice Fulton: »Funkadelic was more Rock, hard Rock, and Parliament was like Soul, with a lot of horns. First record I ever bought was a Funkadelic record, ‘Let’s Take It To The Stage’, I don’t know if you’re all familiar with that record? That’s like my favourite record on this planet.«

RBMA: »Do you have it with you, maybe?«

Maurice Fulton: »I have one song in CD, it’s called ‘Better By The Pound’, it’s a dance record.«

RBMA: »Well, maybe we should just play it for a bit?«

Maurice Fulton: »Ok, you can still talk while I find it.«

RBMA: »What was the next step from Funkadelic? You started collecting records then?«

Maurice Fulton: »My brother was into music, a lot of stuff, a lot of R&B stuff, but mostly Funkadelic was on rotation.«

RBMA: »You were abusing your brothers record collection?«

Maurice Fulton: »Oh yes. Every chance I got whilst he wasn’t home.«

RBMA: »What time was this?«

Maurice Fulton: »I guess the mid-70’s?«

RBMA: »And you were a DJ too then, right?«

Maurice Fulton: »I started in the early 80’s. I pretty much had two turntables but they weren’t Technics or anything with pitch, they were Fisher, I don’t know if you’re all familiar with that brand? You could stack 45’s on top and it had three speeds, 33, 45 and 78. It was a wooden thing and I had two of them with no pitch and it was pretty interesting because you can get creative when you don’t have the usual tools.«

RBMA: »So you had to use your hands a lot of the time?«

Maurice Fulton: »Oh yes. That’s how I learnt how to touch the label to make it slow down and get certain different sounds if you touch it a little but hard and get that ‘brrr’. Love that. And that’s basically how I started, and just practiced, constantly practiced because with that equipment I couldn’t do too much and when I had my friends come over they all laughed at me because of y equipment. Now they understand why, you know? But I just practiced for a whole year, scratching and cutting. And I got good.«

RBMA: »And do you remember the first party you played?«

Maurice Fulton: »Yes. It was a waistline party in Baltimore. What I mean by a waistline party is that you pay your measurements when you go to the door. The guy has a tape measure and he measures your waist and if you were thin you paid little money.«

RBMA: »So you’d better be a skinny dude if you want to go to a waistline party?«

Maurice Fulton: »No, we always liked the big ones, because they partied.«

RBMA: »They’d paid a lot of money to party?«

Maurice Fulton: »Well, not if we liked you. You could come in free (laughs). That was the first party and it was a good party.«

RBMA: »And your name back then as a DJ?«

Maurice Fulton: »I used to call myself Dr. Scratch. Don’t ask me where it came from, I don’t know, but I just thought it sounded good.«

RBMA: »I have distracted you from looking for that Funkadelic tune.«

Maurice Fulton: »That’s right, sorry (searches through CD case). Just to show you, I’m going through all these CD’s. There’s a lot of CD’s here. This is my set, my DJ set, because I don’t play vinyl. I’m not a vinyl hater, I love vinyl, but when you travel it gets expensive for extra luggage and I like to carry a whole lot of records and I found this to be the cheapest way, just to carry CD’s. And plus they sound better, to me. CD’s don’t scratch. You don’t hear pops on CD’s.«

RBMA: »Its usually the argument of vinyl that it sounds so good?«

Maurice Fulton: »I love digital. I thank God for digital. It’s in here somewhere, let’s see.«

RBMA: »With vinyl you could look for the sleeve now?«

Maurice Fulton: »Yeah, it would be bigger and I could see it bigger, but my hand writing is atrocious so it’d take me some time. But I know it’s here. I don’t think I brought it with me, sorry.«

RBMA: »So, no Funkadelic now, but from Baltimore and Dr. Scratch to New York, right? You were influenced by what was happening in that – whatever you want to call it – New York dance culture thing?«

Maurice Fulton: »When I first moved to New York I think the biggest thing was Masters At Work, they were ruling New York and that sound…«

RBMA: »Early 90’s then?«

Maurice Fulton: »Yeah. It got me interested to go to the clubs and see what was happening and I think the Sound Factory bar and Shelter was big at that time. I started going, started dancing, started partying, good move.«

RBMA: »You started to produce then yourself or you were already a producer by then?«

Maurice Fulton: »I was already a producer because I’d worked with the Basement Boys which is a production team, three people. I felt that I was being not held back but I was losing creativity because I was only doing one style of music.«

RBMA: »They were very much into that garage/vocal kind of thing?«

Maurice Fulton: »And I wanted to do more, I wanted to do all types of music, so that’s why I went to New York and discovered it.«

RBMA: »So maybe we should play some of your tracks right now to give people an idea of what Maurice Fulton is about?«

Maurice Fulton: »OK. Before I play this track, let me just explain something. I do many different types of music and what I’m going to play you is the new MU, which is a song that’s called ‘No More Fake Tits’.«

(music: MU ‘No More Fake Tits’)

RBMA: »MU is actually your wife, right? And you’re doing this project together and it went from Punk to Country now.«

Maurice Fulton: »Well not only Country, it’s a lot more other stuff, we do all types of music but the main influence is Punk. There’s another track I wanted to play. Kathy Diamond. I wanted to do a different style of music.«

(music: Kathy Diamond ‘Over’)

RBMA: »So you like to work with vocalists?«

Maurice Fulton: »Yes. Vocalists, bands, MC’s, country stars, everybody.«

Participant: »(Inaudible)«

Maurice Fulton: »Yes, if they sound good, yes.«

Participant: »Did you remix an artist you don’t like?«

Maurice Fulton: »I never did that, if I don’t like the song or the artist I don’t bother at all because I have to be inspired to do the mix«

Participant: »What is different in the creation process where you’re remixing than your own track.«

Maurice Fulton: »It’s the same. When I remix it’s literally me having to do another track to fit the vocals, so it’s the same process, you know, sit down, smoke, get the keyboards, maybe hire a drummer or program it myself, smoke, mix it down, put it on CD, smoke, listen to it, then send it off.«

RBMA: »No smoking before sending it off?«

Maurice Fulton: »Oh no, I have to go to the mail to send it off. You don’t want to be stoned to do that (laughter/ applause).«

RBMA: »Taking about being inspired form the original artist to do a remix you can be inspired by something you dislike also, right?«

Maurice Fulton: »Yeah, like Britney. But I used that for my own tracks. I wouldn’t use it for other peoples mixes because they would get mad at me if I took a reference from Britney Spears.«

RBMA: »You never thought about one of the tracks you remixed, ‘Oh, it’s utter shite but I can make it sound nice?’«

Maurice Fulton: »No. If it doesn’t make me move inside my chair, and wiggle my butt, then no way.«

Participant: »You said your main influence was Punk. Punk was your main influence?«

Maurice Fulton: »That’s what I’m doing right now, I have phases that I go through, sometimes I go through a Hip Hop phase, Gospel House, ear-bleeding Trance, Hip Hop, Country and now I’m into Punk.«

Participant: »Punk the sound of Punk music or the way of working?»

Maurice Fulton: »Well, matter of fact I have a Punk track here. It’s a new one from MU’s LP, let me find it first. Song is titled ‘You Look Good And They Don’t’.«

(music: MU ‘You Look Good And They Don’t’)

RBMA: »That’s pretty far out there?«

Maurice Fulton: »Punk.«

RBMA: »How hard is it to work with someone who you’re married to? A lot of fights during the process?«

Maurice Fulton: »No, its easy. I do the lyrics first, then I imagine what it’ll sound like with music and then I put the music to it, then I ask MU just to… I’ll go over with her how it should be sung and just record and there you have it. It’s real easy to work with MU.«

RBMA: »So she’s never into the process of actually making that track with you?«

Maurice Fulton: »(laughter) Oh no. She’s off reading ‘OK Magazine’ or ‘Heat Magazine’ or what is it you have here, ‘NW?’, ‘Next Week’? I picked that up yesterday because I’m getting into the junk magazine thing, the ‘Heat’ and ‘OK’, I find it interesting.«

RBMA: »I never saw that. Ben might know it?«

Participant: »(Inaudible)«

Maurice Fulton: »Is it real cheesy?«

Participant: »(Inaudible)«

RBMA: »Any more questions? Marsha?«

Participant: »I was just wondering, that Syclops track ‘Mom, The Video Broke’. Do you have it on you?«

Maurice Fulton: »Do I have it on me? No, I’m sorry. It’s been… that’s a pretty old track. I’m so sorry. I should be punished.«

Participant: »I’ll punish you later.«

Maurice Fulton: »Ok.«

Participant: »Hi. Can you play the ‘Paris Hilton’ track? Where did you get the… with all those samples and stuff, it’s so random? Where did you get the chick?«

Maurice Fulton: »There’s no samples, that’s MU.«

Participant: »Is it? That’s awesome.«

Maurice Fulton: »I wanted to do the (makes noise) because I haven’t heard it in a dance record.«

Participant: »I just love it. It’s so good.«

Maurice Fulton: »I know I have it somewhere. The making of that record, I wanted to create something to make people dance and laugh at the same time, while they’re dancing. When someone told me that they’d never laughed so hard and danced at the same time it was a big compliment to me. It’s a really big compliment. I think dance songs, you should have fun and laugh and have a good time, while listening to the song.

Participant: »I just love it. It’s so good.«

Maurice Fulton: »I know I have it somewhere. The making of that record, I wanted to create something to make people dance and laugh at the same time, while they’re dancing. When someone told me that they’d never laughed so hard and danced at the same time it was a big compliment to me. It’s a really big compliment. I think dance songs, you should have fun and laugh and have a good time, while listening to the song.«

RBMA: »So why did you cal it ‘Paris Hilton’?«

Maurice Fulton: »It sounded nice, because when I was recording the ‘shake your body, body, move your body, body, dance your body, body’ I had a writers’ block, what should go after dance your body, body? Paris Hilton!«

RBMA: »So you like her movies also?«

Maurice Fulton: »No, she was on TV too much, there was an overload of Paris Hilton one time, I just thought, why not just do a song?«

(music: Maurice Fulton ‘Paris Hilton’)

RBMA: »So House music from Chicago is also a pretty big influence on you, rhythmically?«

Maurice Fulton: »Oh yeah. Adonis. Marshall Jefferson, Lil’ Louis, stuff to shake your booty.«

RBMA: »And what is the new music you can draw inspiration from? Except for Britney Spears now?«

Maurice Fulton: »It’s tough with dance music but with other types of music, I like Neil, the R’n B artist, I like Jay-Z, I like Letoya, the girl that used to be in Destiny’s Child that got kicked out. She has a solo [album], I like her.«

RBMA: »Dance music sounds pretty stale to you these days?«

Maurice Fulton: »Not all. I like the Idjut Boys, I like Theo Parrish, Lindstrom, all I can think of right now.«

RBMA: »Any more questions?«

Participant: »You just managed the culture shock that hit you when you moved to Sheffield? Does it matter where you are for your music?«

Maurice Fulton: »No, not at all, unless you made music outside it doesn’t matter. In the house it doesn’t matter.«

RBMA: »In a forest? Next to the sheep?«

Maurice Fulton: »It would matter, yes. Then you would have sheep influence. It really doesn’t matter were you’re at in the world, as long as you have an electric cord and some speakers you can do it anywhere.«

RBMA: »You proved that. You moved…«

Maurice Fulton: »A lot of different places. As long as you have an electric cord, speakers, it’s all good.«

RBMA: »And your favourite place in the world?«

Maurice Fulton: »New York. It’d have to be New York. I’ve never seen a city with so many different cultures and different people from other countries in one city. Plus it stays open all night. It doesn’t close. I love that.«

RBMA: »So why not move back there?«

Maurice Fulton: »The party scene is not exciting as it is in England, there’s a lot of clubs happening in England. Most of the clubs in New York are very pop so that doesn’t appeal to me.«

RBMA: »So you would have to play Britney Spears then?«

Maurice Fulton: »Yes I would, in heavy rotation.«

RBMA: »No other questions? They don’t want you to go smoking, that’s’ what it is.«

Participant: »Could you tell us how you mix your own track? What are your tips for mixing?«
Maurice Fulton: »That’s easy. Alright. I take each instrument and try to add a little bit of maybe EQ, maybe delay or maybe anything, but it takes…«

Participant: »You use your laptop?«

Maurice Fulton: »For mixdown, yes. It’s mostly plug-in’s, the effect plug-in’s, and my favourite one would have to be the Ni-Spektral delay, the Native Instruments one, this baby here. This is like my favourite delay, ever invented by man. Or woman. Whoever invented it I bless them. I hope that answers your question. Any more?«

Participant: »How important is it to have a different name for each sound you do?«

Maurice Fulton: »I’m not concerned about the name, you mean the artist name?«

Participant: »Like an artist will have five different sounds under five names and I’d like to hear an artist come out and say: “Fuck you, I do lots of different stuff.”«

Maurice Fulton: »Well, I don’t know too many people who do that, that change their name every time they do a different production. I work with bands and I call themselves something different, but I’m still Maurice Fulton. Producer.«

RBMA: »But you still like use monikers, right?«

Maurice Fulton: »No, I have bands, they’re bands. Like most people think Cyclops is me, its not. It’s a band that I produce that the press just keep thinking that it’s me. That’s why I don’t really talk to the press much.«

RBMA: »You don’t like interviews, right?«

Maurice Fulton: »Not at all, not at all, I get sick of hearing who, what, where, when, why, how come? I’m sick of that.«

RBMA: »Then I have the cure for you. Thank you very much.«

click below to listen

MAURICE FULTON – Revenge Of The Orange

MU ( Maurice Fulton has found his muse.)

Posted in Leftfield House, MAURICE FULTON, MU on April 1, 2008 by bangtheparty


When analyzing Mu’s work, one must consider…well, everything; a record of such quavering vitriol was surely crafted in response to something. That being said, it’s hard to say exactly what Mutsumi Kanamori and husband/producer Maurice Fulton are reacting against, when one can pick from any number of potential catalysts. Take Mu’s apocalyptic war shrieks which seem to decimate the nouveau easy listening of most trance and house: this and the violently cynical lyrics of much of the album throttle both the elitism of clubbing and our worst cultural blueprints (the “bored biz man” and reality dating shows).

“My Name is Tommi” and “Hello Bored Biz Man” both find Mu assuming multiple guises and, abetted by Cuban drum fills and the dissonant clang and squiggle of Fulton’s bizarre production, weaving elaborate tales of betrayal and misery. Whether playing the jilted lover, cheating mate or detached investigator helping the couple along in their misery, in “My Name is Tommi”, Mu approaches her material with a dehumanizing lack of sentimentality.

In Mu’s world-view, all proponents of modern amorality are to blame: the man (for cheating on his mate), the woman (for turning to the investigator), the investigator (for exploiting the couple’s demise), and, above all, the listener, for objectifying (read: listening to) the transaction of sorrow. Far from skirting the edge of gimmickry, Mu towers over these songs like a preening, multi-limbed cyborg mantis, her black eyes swelling with stultifying condescension for any who dare question the veracity of her performance.

“Let’s Get Sick”, on the other hand, finds Mu chanting hysterically over a pummeling industrial sample. As the metallic hammering of a drum threatens to overwhelm Mu’s lithe squeal, her metamorphosis from demure to vicious, vindictive nightmare boxes the listener’s ears like two svelte hands in black leather gloves. “Roll a big fat spliff / And smoking stoned all day / We feel each others bodies / And kiss to my oranges!” Mu rages in her mutilated English cadence, off-set by the urgent wails of sirens, frenetic cowbell playing and the arrhythmic rush of Fulton’s tribal drumming samples.

Far from being a vacuous club anthem extolling the virtues of narcotics, “Let’s Get Sick” bares its teeth and chomps down hard at the notions of pleasure and escape. When the track lapses into a placid interlude replete with pretty synth work, only to again snap into a state of disquieting antipathy, the logic behind Mu’s bait-and-attack methods becomes—for just a moment—clear: what she and Fulton have crafted so lovingly is relaxant music for masochists.

In an underground society fueled by who-has-what, Mu’s album is an explosive statement made for cutting through the shit. What’s left, Mu seems to cry out through a bramble of tangled electro-terror and screeching alarms, is jealous, bored trash. By merit of its incomparably soured outrage, Afro Finger and Gel is a sort of social awareness album (one seeking to destroy archaic Hierarchies of Cool rather than preaching tired homilies about the decay of inner-cities, the yearnings of single mothers, abortion, death penalties, etc.).

A screech of injustice borne of privilege, seeking to daunt and defile the superficial? Certainly. But that only makes it more relevant for its intended audience. Afro Finger and Gel is a terrifying paean to the destruction of scenes, the dissertations of junk-culture, and the end of humanity. As “Destroying Human Nature”,—the most nihilistic, and perversely, most accessible track—fades out of earshot, the listener has endured a sobering, candy-colored pipe-bomb of rage straight to the occipital lobe. Believe it.

click below to listen

MU – Out Of Breach

KATHY DIAMOND ( Another Maurice Fulton vocalist gets the futureboogie treatment)

Posted in KATHY DIAMOND, Leftfield House, MAURICE FULTON on April 1, 2008 by bangtheparty


A more cynical universe—i.e. the one that more/less exists outside the few hundred words of this beaming review—would insist that London’s Kathy Diamond shouldn’t have gotten further than the first slap-bass figure of her debut disco-electro-funk single “All Woman.” The song’s like a positive force “Ain’t Nobody,” the wedding-band staple by Chaka Khan, who herself sang the similarly titled smash “I’m Every Woman.”

That song, if you recall, got redone by Whitney Houston in the early ‘90s, then it soundtracked the Oprah Winfrey Show for a few years. So now we’re talking about a song, called “All Woman,” with 1) slapbass, a once-powerful flourish ruined for most of us by Flea and Les Claypool; 2) sonic similarities to Rufus & Chaka Khan, most of whose repertoire has not aged well *at all*; 3) a singer who indirectly recalls an obnoxious TV personality who gives away free cars to everybody’s moms except our own.

And yet I loved “All Woman,” and I love Diamond’s Miss Diamond To You. A lot of this had to do with its producer Maurice Fulton, an elusive Baltimore/New York/London-living studio man whose remix work I first encountered on the Rapture’s “House of Jealous Lovers” 12″, and whose two albums with wife Mutsumi Kanamori under the name Mu made inroads with the internet indie set.

Fulton’s a fantastic drum and synth patcher, his auxiliary percussion loops fluttering deep in the background, often meant more for feeling than for hearing, his live instruments sampled then chopped up digitally, rare precision given to analog oomph. Except for maybe the DFA’s, you’d be hard-pressed to find better “live-sounding” drum programming. Then there’s Fulton’s sense of vocal tracks, how he stylizes them with manipulations both hardly and harsh, how he democratizes tracks by making vocals just another one of his loops, sometimes a prominent one, other times not.

Except turns out I have heard Fulton before his “HOJL” dub: He did some drum programming for Crystal Waters’ “100% Pure Love,” which may be the first time I had ever heard house music. Which I find interesting because the way Fulton puts borrowed house, disco, electro, and funk in service of pop R&B on Diamond’s debut LP is pretty similar to a song like “100% Pure Love,” though the percentages this time lean slightly more towards disco and funk.

The bass, often slapped, propels a lot of these songs: “The Moment” is another “All Woman” but with fatter piano chords that remind me of Stevie Wonder’s “As,” convicted, and thumping with its chorus’s anticipation: “I’m waiting for the moment / That I can be alone with you.” “Another Life” is minimal by contrast, just a boisterously funky slap-bassline which takes Diamond’s voice for ambient dressing.

Vocally I keep hearing Chaka Khan, and to be clear, that’s not at all a bad thing. Khan has a broader range than Diamond, and a more faceslapping-/heelslamming-type alpha-female attitude where Diamond tends toward introspection, waiting for the moment, at the very least hesitating before she makes it herself. But Diamond’s not as cheesy as Khan either. She sticks to trad R&B diction but doesn’t resign herself to it, playing within it but never with it, grinning but never smirking. Find me an R&B lyric this year better than the first line of “All Woman”: “I came, I saw, I conquered your heart.”

Miss Diamond plays like an hour-long “All Woman,” just different iterations of the same great song. I can’t think of a better compliment, but without getting into the perpetual fight over what a full-length dance LP should or can be, maybe you disagree. Thing is, there is something *comfortably* repetitive to Miss Diamond. This is partly because Fulton has assembled the tracklisting such that one song’s prelude starts before a totally different song whose prelude will come five tracks later, and by the end, the album is a sweaty haze of “I want you” and “I need you” and “I’m waiting for you.”

That’s somewhat unfair though, since Fulton does break things up. Early on he sneaks in a fierce polyrhythmic instrumental called “Until the Sun Goes Down,” with referee whistles and tomtom runs and jittery bells, not unlike the sonic situations Mu would find herself in. We get a bubbling synth line in swung eighths (“Racing Thru Time”) toward the end, and freaked-EQ acid house (“I Need You”), and even a gospel-like stomp in second single “Over,” whose open piano chords hide all the little rhythmic nuances that drive the track, such as the extra bass note right before every measure’s downbeat, or the harpischord counter-rhythms deep in the background. Which seems to be a good place to end a discussion with Fulton: You’ve heard this song before, but something about it, you don’t know what, is better.

click below to listen


MAURICE FULTON (LADYVIPB – When you feel like prancing around)

Posted in LADYBIPB, Leftfield House, MAURICE FULTON on April 1, 2008 by bangtheparty


A semi-concept album without the pretentiousness of one, Stories Of A Broken Heart & Recovering was created on the basis of a failed love affair. Like the many faceted emotions of being in love, Maurice Fulton a.k.a. Ladyvipb has created an album that is just as complicated and challenging with detailed production work that twists together a tight blend of sounds that gently compliment each other. For those looking for a simple classification of Maurice Fulton’s style, good luck. His writing bounces upon Jazz instrumentation and lo-fi electronics, classical organic sound mash with the digital bleeps and clicks while melancholic piano mingles with the fast tempo of Brazilian carnival percussion, House music and abstract Hip-Hop.

The beautiful moments within the primarily instrumental material of Stories could be enough, the prominent material features vocalist Wanda Felicia, a Brooklyn based songwriter/ singer that graces tracks like “Devil You” and “New Day” assisting Maurice Fulton with getting this whole doomed love affair rinsed from his system. If his ex-girlfriend had enough effect to spark this kind of musical outpour, good riddance, this album is worth far more than a little heartache but Maurice may not feel the same.

click below to listen

LADYVIPB – You Gave Away My Everything

MAURICE FULTON (Description?)

Posted in Leftfield House, MAURICE FULTON on April 1, 2008 by bangtheparty


Maurice Fulton’s name is one of those unexpected recurrences in dance music, I mean still knowing almost nothing about him he never seemed to merit mention along with Frankie Knuckles/Bones/Whoever nor in the Detroit pack of May, Carter, Atkins, and of course the master Craig or early euro-stirrers like Kirk Degiorgio and others. But none of that really matters, much like early hip-hop or the days of disco, house music wasn’t created with the intention of lasting, crates of 12”s siphoned off the press with none of rock’s bravado of “making it” either financially or into history. It was still somewhat naive. Fulton went a different route than many of his contemporaries. His work appeared on left leaning house label Warp records right alongside deep house classics . His music is more complex than Craig’s or Knuckles, breezing through an mp3 can present you with 4 very different compositions in on track, yet on listen your only aware of one central conversation holding the entire thing together. Feel The Same starts out with a distorted sub-harmony that eventual stutters into a slap-bass work out builds up into some fine eighties-disco juxtaposed to movie minimalism using the sub-harmony to hold all this together. It’s better than it sounds when it happens, Maurice has consciously mixed 3 very different textures and they become counterpoints in a very odd way, as if he’s planned this confusion from the start. It’s arty disco at heart. Caressingly sincere yet catatonicized by mecha-funk, Fulton is frustrating because he won’t just be one thing. He’s not gonna be Autechere or for that matter Model 500 (think Psychosomatic), but he’s gonna play with their sound, he’s gonna distort things so their no longer pleasant, but he won’t give us the satisfaction of taking it to it’s breaking point, of brutalizing sound, of giving up on music. He avoids catharsis and makes a whipping boy of virtuosity. He sits a little left of the middle and like a good host let’s all his companions mingle by their own wits. It’s a frustrating exercise, but sometimes the results are more than appear to be.