LOVE FOR JAY HAZE

Jay Haze fuckpony It’s a fairly provocative pseudonym, Fuckpony. Not only is it unlikely to go down well with animal welfare groups, it probably won't endear you to mainstream radio programmers, major labels or MTV.

But then Jay Haze, a Berlin-based American producer and the man behind the moniker, is known for being more concerned with underground sounds from Chicago and Detroit than in currying favour with suits and bean counters. Besides, he has several other names to fall back on (eg, Architect, Sub Version), and two decent full-length albums created under his real name: "Love for a Strange World" (2005) and "Love & Beyond" (2008).

As evinced by his prolific and miscellaneous output under these nom de disques (and by the concerns of his three record labels), Haze’s musical passions are varied, extending beyond house and techno to embrace George Clinton-era P-funk, Prince-influenced soul, dub’s fascination with space and reverb, and IDM’s armoury of glitches, clicks and other digital quirks. "Children Of Love" (2006), the first Fuckpony record (which featured contributions from fellow house/techno producer Samim “Heater” Winiger), happily renounced Berlin’s obsession with cold, minimal techno in favour of a warm, infectious blend of Chicago riddims, Detroitian textures and pulsating 303s, all slathered with spaced out vocal performances that mirrored the sensual/sexual side of the club experience perfectly.

Haze's latest, "Let The Love Flow", continues his excursions into the more emotive, groove-based side of house music. Like its predecessor, it could easily be considered a microcosm of a good night out in a club-savvy city like Berlin or London. But don’t go thinking this is some mindless collection of thudding Ibiza anthems (despite track titles such as “Orgasm On The Dancefloor Saturday Night”, “A Pills Medley” and “You Can’t Touch But Feel Free to Look”).

The album's opener, “R U Feeling Abroad”, is less a dance tune than an intricately stitched series of sound sculptures–buzzing synths, echoing percussion, panning snares–though it does eventually erupt into a house beat. “I’m Burning Inside” has a murky, melancholic feel, building slowly but ineluctably through a fug of coruscating synths, disembodied voices and electronic flourishes.

The sprightly kick of “I Know It Happened” (featuring Chela Simone), zinging synths of “Real Love Is Forever” and feverish piano lines of “Orgasm On The Dancefloor Saturday Night” make it clear that these are the album’s "peak-time" tunes. Yet Haze’s music is built to induce physical and cerebral journeys rather than opportunities to chuck one’s hands in the air every two minutes.

The record changes pace and mood with the autumnal "Fall Into Me” (complete with thunderstorm samples), and then settles into chugging, blissed out tunes such as the sweetly melodic “Pills Medley”, the tell-tale “Always Sunday” and the trippy title track.

Throughout, Haze throws in sonic curveballs to hold our attention. Drums collapse, bass-lines are purposefully distended, vocals float through the ether. Reverb and delay are used in abundance, adding to the hypnagogic feel. If this all sounds a bit druggy, it should–this is music built for underground clubs, after all. But Haze works reaches beyond the hedonistic and makes a genuine grab for the soul.

"Let The Love Flow" (Bpitch Control) by Fuckpony, out now

~ PAUL SULLIVAN