#john talabot

[slow-burn-sally]

Apparently I like my men feral, with haunted doll eyes and autistic swagger.

[a-d-v-e-n-t-u-r-e-s]

€URO TRA$H

[lifemusicfun]

FYF FEST 2017 LINEUP | EXPOSITION PARK | LOS ANGELES CA FYF FEST 2017 LINEUP | EXPOSITION PARK | LOS ANGELES CA FB EVENT | WEB

[dopesaucesounds]

Gorgeous stuff from John Talabot and Axel Boman aka Talaboman. This album’s shaping up to be an instant classic.

[sound-bombing]

John Talabot - ƒIN (Permanent Vacation, 2012)  Genre: Electronic, Balearic Beat, Deep House Artwork: Arnau Pi Bandcamp

[walkalongtime]

the golden filter - kill me (john talabot remix) [2012]

[daily-coloring]

JT - It's a Bit of a Miracle - SoundCloud

Listen to JT - It's a Bit of a Miracle by John Talabot on #SoundCloud

https://on.soundcloud.com/1Mp14fyQ8wmcZ4db9

Unreleased 2016 Demo from the MASTER 😍

[mywifeleftme]

168: John Talabot // ƒIN

ƒIN John Talabot 2012, Permanent Vacation

My knowledge of contemporary electronic music was basically flash frozen in carbonite somewhere between the years 2010 and 2013, so when I try to talk about what’s going on now I know my face ends up stuck in a stupid expression and that the tortoise shell glasses and white-trimmed American apparel zip hoodie that suddenly cover my rigid body are cosmically stylistically invalid. Fortunately, John Talabot’s ƒIN dropped right in the middle of my flirtation with the genre(s), so I feel okay riffing on it. I was instantly pretty smitten with ƒIN—which is to say it’s in the small canon of electronic releases I’ve spent enough time with to love, and that therefore I continue to slip tracks from it into my wacker-by-the-year playlists on the rare occasions I get the aux at a dance party, and to say further that my doing so probably does Talabot few favours. His smooth, Balearic sound isn’t a world away from the gormless trance music that dominated Ibiza at the time, and the vocal tracks have some indie dance inflections that aren’t super fashionable these days. Still, ƒIN floats out there to me in the World of Forms as a timeless example of dancefloor bliss, and still feels like cool black water running in the gullies of my brain.

From the drop, ƒIN invites you into a nocturnal world strobed by green light, ‘80s-esque house synths grooving over samples of frogs and crickets and bird calls. Even when an anachronistic touch is introduced, like the cracking 808 kicks that power “Oro y sangre,” the fundamentally organic quality of Talabot’s sound gradually consumes it, like a marsh reclaiming an abandoned structure. Still, no matter how deep into the mangroves he goes, Talabot has the instincts of a big room dance musician. “When the Past Was Present” sounds like Swamp Thing dropping M and cruising Miami Beach, while Tal’s two collaborations with producer/vocalist Pional are definitely intended for feeling someone’s face while gently peaking. What’s kept him from becoming like, Tiësto or something, is that while he wants to move your body on the floor he also wants to take your mind somewhere more spiritual. That’s an ambition that doesn’t lend itself to big emotional swings—but it does make for an album nearly as good in the chair as in the club.

168/365