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"Fly Global Review"


Deservedly, ‘Lost Touch’ gets pride of place with two versions. There must have been some stiff competition in the Balanced ranks over who was going to get their hands on this one. Both versions are great. The improbably named Fascade@137db gets the lathe out to strip it to bare essentials. Sounds like it could easily have gone awry but Ms. Michaelson sounds even better than on the original. At the other extreme, there’s the reggae version by The Seed Organisation (aka Spencer K) that really seems to mesh with the lyrics.

And if you are into downtempo electronica a la Break Reform/Futuristica Music, try the Kaam remix of ‘Nightime In El Canton’ for nu-jazz beats, electro gliches, dubby echo, great bass and percussion). Kaam is actually our old friend DJ Pico of Lekan Babalola remix fame. Not only has he done this remix, he’s got a prime spot on CKUW Radio (9.00-10.30 every 2nd week) with Spencer K — that must be worth a listen.

There’s some bonus action too with a couple of tracks by Metethetics. ‘Desert Silhouettes’ is very ambient harems and ‘Snow’ is more of a Spanish guitar instrumental on a miniature railway steam train heading up a mountain that’s being attacked by radio waves and an opera singer.

Billy Rockwell is a young man who apparently doesn’t get out of the studio much. ‘Could Be’ already sounded like Dani Sciliano on a Herbert track so Mr. Rockwell decides to play around with it even more to break its back in a d’n’b electro style.

Perhaps the biggest and best of the package is the Metethetics remix of Solidaze’s ‘Memory Stain’ for a dubbed out techy house grower.

The next album on the label promises to be an extension of these remixes with “re-interpretations and dubs from featured artists” (including Mod X) and next month sees their sixth anniversary. In the meantime, they’re off to Miami! So if you’re not off to SXSW, WMC or some other industry beano, I suggest you download these tracks onto a ‘companion’ disc to the original album.

Mar 22 2007 Attending WMC March 22-25 MIAMI, Florida
Apr 29 2007 Solidaze w/ guests & Electric Nosehair Orchestra Winnipeg - Fly Magazine

"Base Record Store"

Solidaze (Pleasure From Precision) Solidaze can be categorized as lounge music, but it really can best be described as a down-tempo set of hypnotic electro-soul fused with elements of house and nu jazz. -

"German Review"

der kanadier solidaze hat sich wirklich zeit genommen für sein neues album „pleasure from precision“. vier jahre lang hat er daran gebastelt. und das hat sich gelohnt, denn das ergebnis dieser präzisionsarbeit ist ein softes und facettenreiche hörvergnügen.

ursprünglich war „pleasure from precision“ als rein instrumentales album geplant. dann begann solidaze mit der sopranistin sarah michaelson zusammenzuarbeiten. sie hat sowohl klassischen als auch jazz-gesang gelernt und das hört man. sarahs stimme verleiht fünf tracks auf dem album ein ganz besonderes gefühl. sie klingt wie ein mischung aus portisheads beth gibbons und roisin murphy und ist damit extrem wirksam, denn ihre klarheit trifft mitten ins herz.

trotz gewollt bodenständiger instrumentalisierung mit etwa piano-tönen ist „pleasure from precision“ durch und durch elektronisch. das arrangement ist sauber abgestimmt, die elemente fließen ineinander wie die farbe bei einem aquarell. die melodien sind sogar ein bisschen versteckt, wirken aus dem schatten und bringen so einen sehr feinen, aber eindringlichen groove.

im letzten drittel legt solidaze einen zahn zu. sein deeper housesound wird verspielter und elektronischer, denn jetzt spielen fröhliche synthie-lines die hauptrolle. weiche flächen halten die leichten und knackigen beats zusammen. jetzt sorgen auch noch ein paar bongos und viele shaker für dubbigen latin-flavour.

"Interview on Urbnet"
Where did the inspirations come from to create the Pleasure from Precision

Solidaze -I would say that the album was mostly inspired by the need to contribute to our
brand of sound. In other words, after releasing Duende6s "Solidaze Sessions"
I took a step back to observe and learn from artist such as The Rurals, Sven Van Hees
And Jazzanova. In the end I realized that, I admired their ability to delve into just
About every style they wanted to. Sometimes they would come up with something that was uplifting or sometimes contemplative, but, always contributing to the particular
Sound they were representing at the time.

Of all your monikers (Duende 6, Solidaze, Orquesta Del Sol and Metesthetics)
what has been the most enjoyable experience in the studio and performing

-Well, it would have to be Solidaze because it has encompassed the largest amount
of time and effort. This in return resulted in fun and gratifying experiences while
performing and recording. The different monikers were an attempt at drawing inspiration
from different ideas and concepts. Duende6 was certainly my careless entry into DJing
therefore the most fun I had DJing. Solidaze is the only moniker that I have ever used to
perform live electronic music which has been also quite fun, but, its far more stressful to put together since theres a lot of technical issues to consider.

Has your youthful roots from El Salvador brought upon some of the Latin
flavoured melodies that are found in your productions?

-Yes, Id have to say thats true. The culture itself makes it very natural to feel and
express rhythm. The melodies themselves are much more optimistic in latino
music than what I write, so, in many ways the rhythm is more latin flavored
than the melodies in my opinion, but, I do love throwing in a nice cumbia bass line
in there for fun.

What are some of your earliest experiences when Balanced Records first came
to be?

-In the early days Balanced Recs was going through some trial and error. The first
big test was our first release Northern Faction 1. Everything was a mystery and I
remember that time fondly. We had thrown parties before and tackled the first CD
in the same way. It took us almost 6 months to put the disk out, but, weve always
been proud of Northern Faction 1.

How did you get involved with Sarah Michaelson (aka Mama Cutsworth) to use
her vocal stylings in the studio and during live appearances?

-Sarah was first mentioned by Balanced Recs exec Art Ladd. He worked with Sarah
and heard her sing on a radio jingle for her show. I didnt make an effort at first
to contact her because I had no plans to seek any singers. Pleasure from Precision
was an instrumental album and was due out 2 years ago. Sarah visited the music
store where I work and bought some turntables from me. When I realized who she
was I asked that she listen to Pleasure from Precision. We met and worked through
the song Anti Animosity. She wrote some ideas and sang something amazing over the instrumental version of that song. Sarah had yet to sing on an electronic album , but, had great musical and songwriting skills and after a couple of meetings it was certain that her vocal ideas needed to be on the album.

How does working with electronic musical equipment and instruments on a
daily basis make you feel when you arrive back in the studio?

-I would have to say that its a privilege to only think about music and the equipment
to make it with all day. Music is what I chose to do because it combines art with skill.
I find myself a bit overwhelmed by the amount of gear that I know of. It makes for
An over saturation of the amount of gear that I have to learn to use. This can sometimes
Make it more difficult to know what road to take, so, I often will use different equipment until I find what Im comfortable with. The good far outweighs the bad, so,
Im not complaining.



Solidaze Sessions, 2003
Pleasure from Precision, 2006.
Pleasure from Precision Remixed, 2007.

Tracks Appear On:
Massive Transit, 2000.
Northern Faction 1, 2001.
Northern Faction 2, 2003.
Button Down Beats, 2003
Northern Faction 3, 2006.
Link Pins, 2007.
Aiwa Remixed, 2007.
Northern Faction 4, 2009



Solidaze, the primary recording and production pseudonym for Luis
Francisco Cardona, embraces urban beats and natural rhythms in both
his house and downtempo journeys. Always infused with deep soul and a
muted electro sensibility his work resonates with even the most
discerning listener. Paying attention to detail, Cardona is just as
comfortable doing live PAs and mashups for the dance floor as he is
recording in the Balanced studios. His live sets incorporate his own
material intertwined with the full spectrum of house and a dose of
Latin flavours. His production and engineering can be found in every
level of the Balanced catalogue as an artist as well as in the final
mastering stage. In 2006 Solidaze released the long awaited full
length Pleasure from Precision, featuring the vocals of Sarah
Michaelson (aka Mama Cutsworth), followed up by a remix collection of
this work.

Cardona moved from El Salvador to Winnipeg with his family when he was
10 years old. It was through this massive cultural change that his
eyes were opened to contrasting worlds and their music. Quickly
becoming impassioned with electronic music, he was led into production
where he has released music under the names Duende 6, Solidaze,
Orquesta Del Sol and Metesthetics. Cardona's work can be found on
Nordic Trax's Button Down Beats as well as each instalment of
Balanced's Northern Faction series. He compiled, mixed and mastered
the Solidaze Sessions which featured Viva's Jon Lemmon and Pure
Space's Joe Silva. Co-founding Winnipeg's Balanced Records, Cardona
has established himself as a mainstay in Winnipeg's producer culture
and the point man for digital audio expertise.