Time-honoured Detroit producer Marc ‘MK’ Kinchen released a compendium of his best work this week. The album, ranging from mainstream highlights such as that classic ‘Dub Of Doom’ remix of Nightcrawlers’ Push The Feeling On to cult underground productions for Chez Damier and Byron Stingily, represents a highly praiseworthy 14th chapter for Defected Records’ House Masters compilation series.
“It [House Masters] has grown because there is a wealth of talent making great music. It’s as simple as that” Simon Dunmore, Defected head, explains. “The releases to date have been a balance between people we admire and are fortunate enough to work with. Some of the artists involved have been at the forefront of the scene for two decades.”
House Masters has steadily established itself as an authority on the purest forms of house music since the launch of its very first album – with Louie Vega – in 2008. The format is simple, each release offering re-mastered, full-length DJ-friendly versions of the chosen artists’ work – be they original productions or remixes – without recourse to edits or any ‘in the mix’ trickery. Vega has been followed into the spotlight by the likes of Masters At Work partner Kenny ‘Dope’ Gonzalez, Blaze, Osunlade, Bob Sinclar, Dennis Ferrer and Chocolate Puma; major clubland names based all over the world and highlighting the fairly extensive scope of things.
“I think that’s what makes a good compilation, a properly considered combination of tracks” Dunmore offers, “in other words, a mix of the known and unknown. People like to discover new music because it becomes special to them, so if you can attract them with the classics and then steer them to the less obvious, you stand a good chance of achieving impact.”
It’s a point that Tom Pandzic, founder of Balance Music more than takes. The Aussie imprint’s eponymous compilation series is now on its 20th instalment, with Deetron at the helm. Its first volume, headed by ‘Down Under’ DJ extraordinaire Sean Quinn, arrived way back in 2001; series momentum has built impressively through subsequent house-anchored releases from James Holden, Joris Voorn and Agoria. Today, Balance is a treasured part of clubland vernacular and specific releases, like that one by Voorn in 2009, are recognised as some of the finest compilation mix work ever.
“The majority of compilations released in the market tend to be trend based, but we would rather focus on an eclectic mix of music and artists that can best represent the sound of yesterday, today, and tomorrow” Pandzic explains. “This, rather than a disposable and generic dance mix.”
A concept, however, is vital if labels are to achieve standout in what is an increasingly competitive and over-saturated market for compilation material. The consumer can’t breathe it seems for all the new collections and double-disc mixes scrabbling for attention on digital and physical shop shelves these days. Unique concepts, and similarly unique packaging, are called for….
“It is all about the music; what we do is quite unique and thankfully does stand out” Paul Glancy at LateNightTales suggests. “But then we also pride ourselves in great packaging and photography which comes at a cost; our cover visuals and artwork can cost more than the track clearances.”
LateNightTales, of course, is celebrating the release of a deluxe, limited edition boxset, Decade, featuring all 27 compilations released, as one might imagine, over the 10 hugely successful years the series has been grooving. The series may tread paths slightly off of club music’s in large part beaten track but it retains close ties to some of its most influential artists, having worked with the likes of Groove Armada, Four Tet, Lindstrom and Trentemoller. And, in asking them to root around personal record collections and tee up the ultimate ‘late night’ mixes, it has ‘concept’ big time….
Glancy is not really a fan of conventional DJ mixes, particularly those being posted exclusively in cyberspace: “We don’t generally work with DJs, so we’re not too affected by this culture of podcast giveaways and Soundcloud mixes. But the overall compilation market is tough, and I do feel that the days of the DJ-fronted dance mix are pretty much finished.”
It is all the more reason why labels and compilations – DJ or no DJ, mix or no mix – need something different to say. Fabric, the (London) club that launched a thousand albums (or so it seems), is a perfect case in point. The London institution has created a DJ mix series with real legs; a series reflecting the vibrant, artistic personalities of the music-makers it works with, whilst also capturing the powerful evolution of the club over the many years it has been running.
Fabric is actually another ‘brand’ revelling in 10 years of compilations this month. The club launched its first mix, fabric 01: Craig Richards, in November 2001 and, diligently following its plan to drop a new mix every single month, has gone on to knock up 120 (split equally between its Fabric and Fabriclive headers) at the latest count. The most current release isFabricLive 60, headed by versatile Frenchman Brodinski.
What does Fabric’s label manager Geoff Muncey feel is the key to everlasting compilation life? “We are obviously doing something right to be at this point. We have carved a strong identity based on quality – from the music to the visual and tactile presentation of releases. I think our policy of including both established artists and new talent, as well as avoiding repetition of featured artists, has kept us both relevant and exciting throughout the years. We’ve never tried to manufacture a sound, nor steer the artists who work with us. It’s their individuality that has ensured our albums steer themselves; and that’s an accurate snapshot of the club. Our mixes reflect the musical journey Fabric has taken.”
And how does Fabric view the general climate for compilation releases? “I grew up enjoying lots of series” Fabric Product Manager Leo Belchetz outlines. “I do miss some of those that have called it a day in recent years, but there are other strong compilation series still going, which is healthy for the market overall.”
Which brings us nicely back to Defected and a House Masters series which has continued to grow huge global audience thanks to canny decision-making in terms of artist and track selection, and because of the significant resource channelled into sleeve design, interesting artist notes and, crucially, the reinforcement of the franchise’s overall theme.
“We aim to broaden the series out as more producers become aware of the concept and are open to working with us” Dunmore says. “And there is real interest. As I’ve said, House Masters highlights the obvious, the consistent and the unsung heroes of house music. And its releases aren’t always under the artists’ personal name which, I genuinely think, helps people join the dots between music they like. We do the same as we do across all of our compilations, we guarantee a consistently high music policy and constantly reinvest in new or different talent and titles.”
Looking ahead to early 2012, House Masters will switch its attentions to the twisted house sounds of legendary Miami duo Murk – Oscar G and Ralph Falcon - as well as ‘Iberican Sound’ guru DJ Chus. Murk’s contribution is already pricking ears thanks to the supporting release of a brand new cut under an associated alias, Intruder (one of Oscar and Ralph’s earliest alter-egos). The track, Amame, has been supported heavily on promo by Chandler, Ferrer and Troxler, and provides a tidy example of how House Masters aims not only to look back (as intelligently as that may be), but forwards.
“We’re working very hard to offer the finest artist production series in house music” Dunmore concludes. “Each release represents a ‘Best of the Best’… a spotlight on key passages of work within our scene. The fact that clubbers and collectors alike can easily access rarities, in one place, that once cost a lot of money is fantastic in terms of encouraging people to understand what house is and where it originally comes from.”
Even the most successful franchises are burdened by the complexity of track licensing and publishing but Dunmore is supremely upbeat. “It is complicated in some areas but producers and labels need exposure to survive right now, so people are becoming more open and learning to work around the restrictions” he stresses. “The compilation market is actually a lot clearer now than it was two or three years ago; more people are getting their heads around how to do it properly. We’re just glad we can do what we do with relatively little stress. There’s a wealth of talent out there that needs documenting for entertainment as much as education.”
Words: Ben Lovett
Defected Presents House Masters - MK is out now
