With the full awareness that Haswell has specialist if generally spotless taste (see his 2010 FACT mix), we approached Wormhole Shubz with a mixture of excitement and trepidation. We’re very glad we accepted the recommendation.
EVOL we were already broadly familiar with – led by Barcelona artist Roc Jiménez de Cisnero, currently in partnership with Scotland’s Stephen Sharp, the project had come to worldwide attention with sporadic releases on Mego as far back as 1999 – but their latest album had somehow passed us by. Issued by Entr’acte, the experimental imprint home to editions from artists as diverse as Sudden Infant, Helena Gough and Theo Burt, Shubz‘s accompanying blurb promised “a new step forward in the ongoing audio research/frenzy that Sharp and Jiménez de Cisneros call Rave Synthesis — a deconstruction of rave culture icons under radically different compositional strategies.”
This remarkable record represented “a renewed morphology” for custom-made hoovers, supersaws and other sounds we naturally associate with rave. In its distilling and distancing of these sounds – this “rave slime” – from the familiar structures of club music, EVOL emphasised the wild, alien, abstract quality that had made them so attractive to producers in the first place.
Jiménez de Cisneros and Sharp went back to the source in more ways than one – the Shubz CD booklet featured an interview with Eric Persing, the father of the ‘hoover sound’ – aka the ‘Mentasm sound’. This sound was popularised, and given one of its handles, by Joey Beltram’s 1991 Second Phase track ‘Mentasm’, but was derived from the perfectly named ‘What the?’ patch that Persing had developed for the Roland Alpha Juno synth. As Simon Reynolds wrote in Energy Flash, the ‘Mentasm’ noise spread like a virus in the early 90s, infecting everyone from the Belgian, German and Dutch hardcore scenes to British breakbeat and proto-jungle artists like 4Hero, Rufige Cru and Doc Scott. It became, in Reynolds’ words, “hardcore’s great unifier, guaranteed to activate your E-rush.”
A month or two after Haswell’s initial Shubz recommendation, we were contacted, completely out of the blue, by EVOL themselves. They explained that they’d created a “a compilation of our favourite hoover moments, plus other gems we uncovered whilst digging for more”, and asked us whether we’d like to use it a FACT mix. Sure, we said, at the very least we’ll consider it – send it over. Nothing could have adequately prepared us for what was delivered – a seamlessly edited barrage of 105 tracks in under 49 minutes that left us feeling equally bruised and euphoric. Listening to it was like plugging into some kind of hooligan time-machine and seeing the whole of rave flash before our eyes, like having its essence – that “rave slime” – extracted, purified and piped straight into our skulls. It was, is, in the parlance of the era it celebrates, f**kng mental.
“The majority of the tracks belong to a very specific timeframe,” Roc explains, “namely the golden era of European rave and hardcore around 1990, 1991 and 1992, when the hoover sound was wildly popular and its potential was being explored. Despite quickly becoming a gimmick across the scene, and one that spawned countless shit tunes, the hoover was at its peak in the very early nineties, and the productions of that time set the gold standard for years to come. Hoovers survived as a cliché but hardly evolved after that.”
FACT mix 330 – subtitled Ruff – is therefore to some extent a document of arrested development, of how quickly codified and normalised something insurrectionary can become, but it also showcases the creativity, enthusiasm and ad hoc inventiveness of the second wave of rave – the variety of purpose to which the ‘hoover’ was put within the dancefloor-sating rules of rave is quite astonishing.
Tracklist:
01. Hyper on Experience – Time Stretch (Moving Shadow, 1993)
02. Skanna – Untitled (Skanna, 1993)
03. Cosmic Brian – Hardcore Helmet (Ruff Quality Recordings, 1992)
04. Knight Phantom – Kick Up The Volume “Play It Loud” (Rising High Records, 1992)
05. A.E.K. – Paradise (Bass Sphere, 1992)
06. Rufige Cru – Krisp Biscuit (Power) (Reinforced Records, 1992)
07. English Muffin – The Blood of an English Muffin (Industrial Strength Records, 1993)
08. Franky Jones & DJ Bountyhunter – Speed Area (Megarave Mix) (Bonzai Records, 1994)
09. Interface – Toytown (Mix 1) (Rising High Records, 1992)
10. Son Of God – Sunday Raver (Strictly Hardcore, 1992)
11. Krome and Time – This Sound Is for the Underground (Suburban Base Records, 1992)
12. Dave Charlesworth – Untitled (Energizer, 1992)
13. Smart E’s – Sesame’s Treet (Suburban Base Records, 1992)
14. Tic Tac Toe – Ephemerol (Mickey Finn Remix) (Tic Tac Toe, 1992)
15. The Godfather – Look to the Light (Impact, 1993)
16. Nookie – Give a Little Love (Reinforced Records, 1994)
17. Tango – Can’t Stop The Rush (’93 Remix) (Formation Records, 1993)
18. Bass Selective – Jessica’s Jaw (DJ Only Records, 1993)
19. The Untouchables – N’Joi This (Tough Toonz, 1993)
20. Mind Controller – Trance (K.N.O.R. Records, 1993)
21. Mo Lester – Blue Sky Day (White Label, 1992)
22. The House Crew – Maniac (Hypermix) (Production House, 1992)
23. One Nation – Love Surrender Dove (Blockhouse, 1992)
24. Plexus – Cactus Rythm (Mixed By Mike Ferlin) (DiKi Records, 1991)
25. M-D-EMM – Get Down (Fantasy UFO Mix) (Strictly Underground Records, 1991)
26. Satin Storm – Let’s Get Together (Satin Storm, 1992)
27. Franky Jones & DJ Bountyhunter – Speed Area (Megarave Mix) (Bonzai Records, 1994)
28. Tango and Fallout – Further Intrigue (Tango & Fallout, 1993)
29. Fourth Dimension – Infection (After Dark Recordings, 1993)
30. Citadel of Kaos – Searchin’ 4 Gold (Boombastic Plastic, 1992)
31. DJ Vibes & Wishdokta – No More Tears (Impact, 1994)
32. Studio 2 – Planet Dance (White Label, 1993)
33. Xenophobia – Rush In The House (Remix) (White Label, 1992)
34. MC snippet (Fusion, 1993)
35. Sy-Kick – Nasty Rhythm (Tam Tam Records, 1992)
36. Raver’s Nature – Take Off! (Fire Recordings, 1995)
37. Equation – Energy Buzz (White Label, 1991)
38. DJ Distroi & Boykz – Let Me See If You Can Dance (Flyte Records, 1992)
39. Cybernetic Empire – Equinox (Paradise Records, 1993)
40. Mundo Muzique – Acid Pandemonium (R & S Records, 1991)
41. Marvellous – Blind Date (Fuck Your Blind Date In The Alley Mix) (EVA, 1992)
42. Brainstorm – Sam’s Vision (R&S Records 1991)
43. DJ DD Hass & X-10-CIV – Hi-Tech (Underground Connection Records 1991)
44. Neon – Waves (Tragedy Mix) (Rave 55, 1991)
45. Agent Orange – Sounds A Bit Flakey (Original) (Dog Tag Records 1992)
46. Techno Twins – It’s A Crime (The Maxx Productions, 1991)
47. DJ SS – The E-Face (Bassheavy Mix) (Formation Records 1991)
48. Beat Bites Bit – Exorzist (Cruzifix Mix) (ToCo International, 1992)
49. Francesco Zappala – No Way Out (Nikita Mix) (PWL International, 1992)
50. Adam X – Lost In Hell (Satanic Ritual Mix) (Rave Age Records, 1992)
51. Noys – Ave Maria (No Walz Noys Mix) (Logic Records, 1992)
52. Mundo Muzique – Untitled (R&S Records, 1991)
53. Terrorize – It’s Just A Feeling (7 inch Mix) (Hamster Records, 1992)
54. Ace The Space – 9 is a Classic (Ultimate Rave Mix) (Dance Ecstasy 2001, 1992)
55. Hedgehog Affair – Oh Wow What A Rush (Sound Entity Records, 1991)
56. Low Noise Block – Rave In The Bedroom (Ibiza Records, 1991)
57. Ace The Space – 1 Gun 2 Gun 3 Gun Roar (Dance Pool, 1993)
58. Asmo – Rush The Dance (feat MC Excel) (Amass Recordings, 1992)
59. Doc Scott – Terminator (Absolute 2 Records, 1991)
60. Dread – Quantum Leap (786 Approved, 1992)
61. Knight Phantom – What’s The Situation Now? (Rising High Records, 1992)
62. Lethal – Asako (Blanco Y Negro, 1994)
63. The Movement – Bingo (Sunshine Entertainment, 1992)
64. Rhythm Section – Perfect Love 2am (Rhythm Section Recordings, 1992)
65. Criminal Minds – Re-baptised by Dub (Selector’s Revenge) (White House Records, 1992)
66. 3 Rude Bwoy – Every Body E (Mad House Records, 1992)
67. Sperminator – No Women Allowed (Rotterdam Records, 1992)
68. Aurora – Spectral Bass (Adrenalin Records, 1992)
69. Nebula 2 – Antheama (Reinforced Records, 1991)
70. Holy Noise – The Nightmare (Rotterdam Records, 1992)
71. Deluxe – Unknown (Absolute 2 Records, 1993)
72. Economix – Panic (Not On Label, 1992)
73. Bab’el’on – Rave On The Nile (Mad House Records, 1992)
74. Cypher – Skyhigh (Rave Creator’s Black Gold Mix) (Cold Rush Records, 1994)
75. DJ Distroi & Boykz – Come With It Bad Boy (Flyte Records, 1992)
76. Economix – Equake (Not On Label, 1992)
77. Trip Commando – Eastern Origin (Chorus Mix) (Dance Ecstasy 2001, 1995)
78. Force Mass Motion – Jack Of Diamonds (Rabbit City Records, 1992)
79. 100% Acidferous – Tank (100% Acidferous, 1993)
80. Coolhand Flex – Complete Control (In Touch Records, 1993)
81. Headshop – Universe (Dance Pool, 1993)
82. Tronik House – Spark Plug (Detroit Mix) (KMS, 1992)
83. Tango – Factor 5 (Formation Records, 1991)
84. Multicore – True Techno Gangster (Strictly Underground Records, 1992)
85. DJ Red Alert & Mike Slammer – In Effect (Slammin’ Vinyl, 1993)
86. Underground Software – Electronic Pig (Reinforced Records, 1992)
87. Underground Software – Different Ting (Reinforced Records, 1992)
88. 2 Low 4 Zero – Fast (De Kuip-Hardcore-Mix) (Rotterdam Records, 1992)
89. MC snippet (In-Ter-Dance, 1992)
90. Ragga Twins – The Mixed Truth (Shut Up And Dance Records, 1992)
91. The Ultimate Seduction – A Walking Nightmare (Interdance Records, 1993)
92. Tronik House – Spark Plug (Detroit Mix) (KMS, 1992)
93. DJ Professor – Rock Me Steady (PWL International, 1992)
94. Dark Raver – One Fucked Up (Dance International Records, 1991)
95. Pleasure Game – Le Seigneur Des Ténèbres (Destructor Mix) (Music Man Records 1991)
96. Short Circuit – Fuck Me (Rotterdam Records, 1993)
97. Cameo – Money (Reese Hardcore Instrumental) (Reprise Records, 1992)
98. 3 Rude Bwoy – Every Body E (Mad House Records, 1992)
99. DJ Red Alert & Mike Slammer – F*ckin’ Hardcore (Slammin’ Vinyl, 1993)
100. Nasty Django – Ey Loco (Dance Ecstasy 2001, 1992)
101. Dye Witness – Observing The Earth (Mid-Town Records, 1992)
102. Pleasure Game – Le Seigneur Des Ténèbres (Terminator Mix) (Music Man Records 1991)
103. The Men From Del Bosca – Bajo-El-Austral (Giant Trax, 1992)
104. Warped Kore – The Power (White House Records, 1993)
105. Ultra-Sonic – Annihilating Rhythm (Clubscene Records, 1994)
The mix’s two foot-long tracklist (see below) is a fascinating artifact in itself, representing virtually all the key artists and labels from the era – many of which would go on to bigger and better things, many of which would fall by the wayside. Whether you’re a dedicated student of early jungle, acid techno and Belgian rave, or whether you’re a relative novice, yet to discover the joys of Sperminator’s ‘No Women Allowed’, FACT mix 330 is essential – we’ve never heard anything quite like it. Put simply: if you weren’t hardcore at the start, you will be by the end."
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Thursday, 24 May 2012
New mix by EVOL for FACT Magazine
With the full awareness that Haswell has specialist if generally spotless taste (see his 2010 FACT mix), we approached Wormhole Shubz with a mixture of excitement and trepidation. We’re very glad we accepted the recommendation.
EVOL we were already broadly familiar with – led by Barcelona artist Roc Jiménez de Cisnero, currently in partnership with Scotland’s Stephen Sharp, the project had come to worldwide attention with sporadic releases on Mego as far back as 1999 – but their latest album had somehow passed us by. Issued by Entr’acte, the experimental imprint home to editions from artists as diverse as Sudden Infant, Helena Gough and Theo Burt, Shubz‘s accompanying blurb promised “a new step forward in the ongoing audio research/frenzy that Sharp and Jiménez de Cisneros call Rave Synthesis — a deconstruction of rave culture icons under radically different compositional strategies.”
This remarkable record represented “a renewed morphology” for custom-made hoovers, supersaws and other sounds we naturally associate with rave. In its distilling and distancing of these sounds – this “rave slime” – from the familiar structures of club music, EVOL emphasised the wild, alien, abstract quality that had made them so attractive to producers in the first place.
Jiménez de Cisneros and Sharp went back to the source in more ways than one – the Shubz CD booklet featured an interview with Eric Persing, the father of the ‘hoover sound’ – aka the ‘Mentasm sound’. This sound was popularised, and given one of its handles, by Joey Beltram’s 1991 Second Phase track ‘Mentasm’, but was derived from the perfectly named ‘What the?’ patch that Persing had developed for the Roland Alpha Juno synth. As Simon Reynolds wrote in Energy Flash, the ‘Mentasm’ noise spread like a virus in the early 90s, infecting everyone from the Belgian, German and Dutch hardcore scenes to British breakbeat and proto-jungle artists like 4Hero, Rufige Cru and Doc Scott. It became, in Reynolds’ words, “hardcore’s great unifier, guaranteed to activate your E-rush.”
A month or two after Haswell’s initial Shubz recommendation, we were contacted, completely out of the blue, by EVOL themselves. They explained that they’d created a “a compilation of our favourite hoover moments, plus other gems we uncovered whilst digging for more”, and asked us whether we’d like to use it a FACT mix. Sure, we said, at the very least we’ll consider it – send it over. Nothing could have adequately prepared us for what was delivered – a seamlessly edited barrage of 105 tracks in under 49 minutes that left us feeling equally bruised and euphoric. Listening to it was like plugging into some kind of hooligan time-machine and seeing the whole of rave flash before our eyes, like having its essence – that “rave slime” – extracted, purified and piped straight into our skulls. It was, is, in the parlance of the era it celebrates, f**kng mental.
“The majority of the tracks belong to a very specific timeframe,” Roc explains, “namely the golden era of European rave and hardcore around 1990, 1991 and 1992, when the hoover sound was wildly popular and its potential was being explored. Despite quickly becoming a gimmick across the scene, and one that spawned countless shit tunes, the hoover was at its peak in the very early nineties, and the productions of that time set the gold standard for years to come. Hoovers survived as a cliché but hardly evolved after that.”
FACT mix 330 – subtitled Ruff – is therefore to some extent a document of arrested development, of how quickly codified and normalised something insurrectionary can become, but it also showcases the creativity, enthusiasm and ad hoc inventiveness of the second wave of rave – the variety of purpose to which the ‘hoover’ was put within the dancefloor-sating rules of rave is quite astonishing.
Tracklist:
01. Hyper on Experience – Time Stretch (Moving Shadow, 1993)
02. Skanna – Untitled (Skanna, 1993)
03. Cosmic Brian – Hardcore Helmet (Ruff Quality Recordings, 1992)
04. Knight Phantom – Kick Up The Volume “Play It Loud” (Rising High Records, 1992)
05. A.E.K. – Paradise (Bass Sphere, 1992)
06. Rufige Cru – Krisp Biscuit (Power) (Reinforced Records, 1992)
07. English Muffin – The Blood of an English Muffin (Industrial Strength Records, 1993)
08. Franky Jones & DJ Bountyhunter – Speed Area (Megarave Mix) (Bonzai Records, 1994)
09. Interface – Toytown (Mix 1) (Rising High Records, 1992)
10. Son Of God – Sunday Raver (Strictly Hardcore, 1992)
11. Krome and Time – This Sound Is for the Underground (Suburban Base Records, 1992)
12. Dave Charlesworth – Untitled (Energizer, 1992)
13. Smart E’s – Sesame’s Treet (Suburban Base Records, 1992)
14. Tic Tac Toe – Ephemerol (Mickey Finn Remix) (Tic Tac Toe, 1992)
15. The Godfather – Look to the Light (Impact, 1993)
16. Nookie – Give a Little Love (Reinforced Records, 1994)
17. Tango – Can’t Stop The Rush (’93 Remix) (Formation Records, 1993)
18. Bass Selective – Jessica’s Jaw (DJ Only Records, 1993)
19. The Untouchables – N’Joi This (Tough Toonz, 1993)
20. Mind Controller – Trance (K.N.O.R. Records, 1993)
21. Mo Lester – Blue Sky Day (White Label, 1992)
22. The House Crew – Maniac (Hypermix) (Production House, 1992)
23. One Nation – Love Surrender Dove (Blockhouse, 1992)
24. Plexus – Cactus Rythm (Mixed By Mike Ferlin) (DiKi Records, 1991)
25. M-D-EMM – Get Down (Fantasy UFO Mix) (Strictly Underground Records, 1991)
26. Satin Storm – Let’s Get Together (Satin Storm, 1992)
27. Franky Jones & DJ Bountyhunter – Speed Area (Megarave Mix) (Bonzai Records, 1994)
28. Tango and Fallout – Further Intrigue (Tango & Fallout, 1993)
29. Fourth Dimension – Infection (After Dark Recordings, 1993)
30. Citadel of Kaos – Searchin’ 4 Gold (Boombastic Plastic, 1992)
31. DJ Vibes & Wishdokta – No More Tears (Impact, 1994)
32. Studio 2 – Planet Dance (White Label, 1993)
33. Xenophobia – Rush In The House (Remix) (White Label, 1992)
34. MC snippet (Fusion, 1993)
35. Sy-Kick – Nasty Rhythm (Tam Tam Records, 1992)
36. Raver’s Nature – Take Off! (Fire Recordings, 1995)
37. Equation – Energy Buzz (White Label, 1991)
38. DJ Distroi & Boykz – Let Me See If You Can Dance (Flyte Records, 1992)
39. Cybernetic Empire – Equinox (Paradise Records, 1993)
40. Mundo Muzique – Acid Pandemonium (R & S Records, 1991)
41. Marvellous – Blind Date (Fuck Your Blind Date In The Alley Mix) (EVA, 1992)
42. Brainstorm – Sam’s Vision (R&S Records 1991)
43. DJ DD Hass & X-10-CIV – Hi-Tech (Underground Connection Records 1991)
44. Neon – Waves (Tragedy Mix) (Rave 55, 1991)
45. Agent Orange – Sounds A Bit Flakey (Original) (Dog Tag Records 1992)
46. Techno Twins – It’s A Crime (The Maxx Productions, 1991)
47. DJ SS – The E-Face (Bassheavy Mix) (Formation Records 1991)
48. Beat Bites Bit – Exorzist (Cruzifix Mix) (ToCo International, 1992)
49. Francesco Zappala – No Way Out (Nikita Mix) (PWL International, 1992)
50. Adam X – Lost In Hell (Satanic Ritual Mix) (Rave Age Records, 1992)
51. Noys – Ave Maria (No Walz Noys Mix) (Logic Records, 1992)
52. Mundo Muzique – Untitled (R&S Records, 1991)
53. Terrorize – It’s Just A Feeling (7 inch Mix) (Hamster Records, 1992)
54. Ace The Space – 9 is a Classic (Ultimate Rave Mix) (Dance Ecstasy 2001, 1992)
55. Hedgehog Affair – Oh Wow What A Rush (Sound Entity Records, 1991)
56. Low Noise Block – Rave In The Bedroom (Ibiza Records, 1991)
57. Ace The Space – 1 Gun 2 Gun 3 Gun Roar (Dance Pool, 1993)
58. Asmo – Rush The Dance (feat MC Excel) (Amass Recordings, 1992)
59. Doc Scott – Terminator (Absolute 2 Records, 1991)
60. Dread – Quantum Leap (786 Approved, 1992)
61. Knight Phantom – What’s The Situation Now? (Rising High Records, 1992)
62. Lethal – Asako (Blanco Y Negro, 1994)
63. The Movement – Bingo (Sunshine Entertainment, 1992)
64. Rhythm Section – Perfect Love 2am (Rhythm Section Recordings, 1992)
65. Criminal Minds – Re-baptised by Dub (Selector’s Revenge) (White House Records, 1992)
66. 3 Rude Bwoy – Every Body E (Mad House Records, 1992)
67. Sperminator – No Women Allowed (Rotterdam Records, 1992)
68. Aurora – Spectral Bass (Adrenalin Records, 1992)
69. Nebula 2 – Antheama (Reinforced Records, 1991)
70. Holy Noise – The Nightmare (Rotterdam Records, 1992)
71. Deluxe – Unknown (Absolute 2 Records, 1993)
72. Economix – Panic (Not On Label, 1992)
73. Bab’el’on – Rave On The Nile (Mad House Records, 1992)
74. Cypher – Skyhigh (Rave Creator’s Black Gold Mix) (Cold Rush Records, 1994)
75. DJ Distroi & Boykz – Come With It Bad Boy (Flyte Records, 1992)
76. Economix – Equake (Not On Label, 1992)
77. Trip Commando – Eastern Origin (Chorus Mix) (Dance Ecstasy 2001, 1995)
78. Force Mass Motion – Jack Of Diamonds (Rabbit City Records, 1992)
79. 100% Acidferous – Tank (100% Acidferous, 1993)
80. Coolhand Flex – Complete Control (In Touch Records, 1993)
81. Headshop – Universe (Dance Pool, 1993)
82. Tronik House – Spark Plug (Detroit Mix) (KMS, 1992)
83. Tango – Factor 5 (Formation Records, 1991)
84. Multicore – True Techno Gangster (Strictly Underground Records, 1992)
85. DJ Red Alert & Mike Slammer – In Effect (Slammin’ Vinyl, 1993)
86. Underground Software – Electronic Pig (Reinforced Records, 1992)
87. Underground Software – Different Ting (Reinforced Records, 1992)
88. 2 Low 4 Zero – Fast (De Kuip-Hardcore-Mix) (Rotterdam Records, 1992)
89. MC snippet (In-Ter-Dance, 1992)
90. Ragga Twins – The Mixed Truth (Shut Up And Dance Records, 1992)
91. The Ultimate Seduction – A Walking Nightmare (Interdance Records, 1993)
92. Tronik House – Spark Plug (Detroit Mix) (KMS, 1992)
93. DJ Professor – Rock Me Steady (PWL International, 1992)
94. Dark Raver – One Fucked Up (Dance International Records, 1991)
95. Pleasure Game – Le Seigneur Des Ténèbres (Destructor Mix) (Music Man Records 1991)
96. Short Circuit – Fuck Me (Rotterdam Records, 1993)
97. Cameo – Money (Reese Hardcore Instrumental) (Reprise Records, 1992)
98. 3 Rude Bwoy – Every Body E (Mad House Records, 1992)
99. DJ Red Alert & Mike Slammer – F*ckin’ Hardcore (Slammin’ Vinyl, 1993)
100. Nasty Django – Ey Loco (Dance Ecstasy 2001, 1992)
101. Dye Witness – Observing The Earth (Mid-Town Records, 1992)
102. Pleasure Game – Le Seigneur Des Ténèbres (Terminator Mix) (Music Man Records 1991)
103. The Men From Del Bosca – Bajo-El-Austral (Giant Trax, 1992)
104. Warped Kore – The Power (White House Records, 1993)
105. Ultra-Sonic – Annihilating Rhythm (Clubscene Records, 1994)
The mix’s two foot-long tracklist (see below) is a fascinating artifact in itself, representing virtually all the key artists and labels from the era – many of which would go on to bigger and better things, many of which would fall by the wayside. Whether you’re a dedicated student of early jungle, acid techno and Belgian rave, or whether you’re a relative novice, yet to discover the joys of Sperminator’s ‘No Women Allowed’, FACT mix 330 is essential – we’ve never heard anything quite like it. Put simply: if you weren’t hardcore at the start, you will be by the end."
Tuesday, 15 May 2012
Sunday, 27 November 2011
Uncle Dugs "Run Come Follow Me" Radio Show .........
For a number of months now I have been listening to Uncle Dugs "Run Come Follow Me" Radio Show on RINSE FM (UK)- Every show is a history lesson when it comes to Oldskool Rave/Jungle/Drum & Bass. So I thought I should post a heads up for this weeks show.......another BANGER !!!
On this weeks show we had a bag of 92 classics right up till our special guest Mr Danny Donnelly of Sub Base, Boogie times and loads more popped in for this weeks interview..
We spoke about everything from before the shop and label days right through that whole rave period up till what he has done in recent years with the best seeling Pure & Euphoria compilation brands and now his career in writing and directing movies..
Wicked tunes, wicked interview...!!
Download link... Click here. (Right Click & Save)
Tracklist
1. macka brown - dubplate style - labello blanco
2. dj edge - compnded - edge
3. dj seduction - higher now - impact
4. criminal minds - baptized by dub - white house
5. urban shakedown - some justice (concrete jungle mix) - urban shakedown
6. ratpack - searchin' for my rizla - big giant music
7. dance conspiracy - dub war - metamorphosis
8. mc lethal - the rave digger - network
9. doc scott - nhs (disco mix) - absolute 2
10. bodysnatch - euphony - big city
11. rufige cru - believe - reinforced
12. nookie - give a little love - absolute 2
13. menace makes 3 - do you feel what im feeling - danse city
14. urban hype - trip to trumpton - faze 2
15. sacred - keep it going - white
16. origination - break down - rudeboy
17. criminal minds - flynny's theme - white house
18. phantasy & gemini - never try the hippodrome - liquid wax
19. ragga twins feat junior reid - shine eye - shut up & dance
20. demon boyz - jungle dett (hardcore house mix) - tribal bass
21. brothers grimm - exodus (the lion awakes) - production house
22. jonny l - hurt you so - yo!yo!
23. code 071 - a london sumtin' - reinforced
24. guy called gerald - sunshine - juice box
25. awesome 3 - dont go - entity
26. acen - trip to the moon pt 2 (the dark side) - production house
Danny Donnelly interview
27. dj hype feat mc gq - roll the beats - sub base
28. dj hype - dubplate fever - sub base"
Thursday, 17 November 2011
A Return From my Hiatus
It's been quite a while since my last post - due to unplanned opertion to my back... all good now and what better way to return than with a masterful mix by Objekt.
"FACTs 300th mix comes from almost certainly our dance music newcomer of 2011, Berlin’s Objekt.
Objekt hasn’t released much in 2011, but that’s one of the reasons his emergence has been so welcome. In an age of oversaturation and overexposure, where people feel the need to upload their entire life stories to Soundcloud after two weeks of watching Logic tutorials, he’s the definition of someone who’s taken time to hone a craft (he’s actually worked as a programmer at Native Instruments for several years, which goes some way to explaining why his music is so sonically potent), and waited until they’re 100% ready before exposing their wares to the world at large.
And what an impact Objekt’s music has made. His first self-released single, ‘Tinderbox’ / ‘The Goose That Got Away’, was such an impressive amalgamation of half-step atmospherics and rickety techno drum programming that people were convinced it was the work of a more established producer under a new alias, while its follow up paired one of the year’s most stratospheric techno tracks (‘CLK Recovery’) with a B-side that proved that club-stopping dubstep drops don’t have to be stupid in 2011 (‘Unglued’). Combined with remixes for Call Super, Sbtrkt and Radiohead, and ‘Cactus’, a deadly dubplate that proved a highlight of Ben UFO’s recent mix CD for Rinse, he’s built up a small but powerful discovery with hints of STL, Mala, Peverelist and more to it already.
Objekt’s FACT mix is roughly in line with the music he’s released so far: underground techno full of staggered drums and inventive sampling, presented impeccably while never sounding too straight, smooth or unnatural. No tracklist provided, but there appears to be at least one unreleased Objekt cut in there for the spotters".
DOWNLOAD HERE....
"FACTs 300th mix comes from almost certainly our dance music newcomer of 2011, Berlin’s Objekt.
Objekt hasn’t released much in 2011, but that’s one of the reasons his emergence has been so welcome. In an age of oversaturation and overexposure, where people feel the need to upload their entire life stories to Soundcloud after two weeks of watching Logic tutorials, he’s the definition of someone who’s taken time to hone a craft (he’s actually worked as a programmer at Native Instruments for several years, which goes some way to explaining why his music is so sonically potent), and waited until they’re 100% ready before exposing their wares to the world at large.
And what an impact Objekt’s music has made. His first self-released single, ‘Tinderbox’ / ‘The Goose That Got Away’, was such an impressive amalgamation of half-step atmospherics and rickety techno drum programming that people were convinced it was the work of a more established producer under a new alias, while its follow up paired one of the year’s most stratospheric techno tracks (‘CLK Recovery’) with a B-side that proved that club-stopping dubstep drops don’t have to be stupid in 2011 (‘Unglued’). Combined with remixes for Call Super, Sbtrkt and Radiohead, and ‘Cactus’, a deadly dubplate that proved a highlight of Ben UFO’s recent mix CD for Rinse, he’s built up a small but powerful discovery with hints of STL, Mala, Peverelist and more to it already.
Objekt’s FACT mix is roughly in line with the music he’s released so far: underground techno full of staggered drums and inventive sampling, presented impeccably while never sounding too straight, smooth or unnatural. No tracklist provided, but there appears to be at least one unreleased Objekt cut in there for the spotters".
DOWNLOAD HERE....
Thursday, 30 June 2011
New Mixtape from OSSIE - check it.....
This Friday’s FACT mix comes from one of the brightest talents in UK house music, East London’s Ossie.
If you’ve listened to underground house favourite DJ Petchy at any point in the last eighteen months, there’s a good chance you’ll have heard Ossie’s ‘Tarantula’. A beauty of a track, built on gloriously natural percussion and slide rule synths, with the support of Petchy and others it became an anthem on Live FM and other London pirates, before being snapped up for full release by Lightworks, a new label formed by Reecha (Dirty Canvas/No Hats No Hoods) and Jon Rust.
This month, Ossie followed it up with arguably an even better second single, the vocoder-led ‘Set the Tone’ on Hyperdub. He also played a show-stopping closing set at our recent party at Cable; time, thought we, to ask him for a mix.
What’s key with Ossie’s productions is that instinctive, live sounding percussion he uses, and his love for natural drums also comes through in his FACT mix. Blended to perfection, they melt and slip into each other like butter. Download the mix below, and check page two for a short Q&A with Ossie.
FACT mix 257 - Ossie (Jun '11) by factmag
Tracklist:
Moloko – Sing It back (Ossie Remix)
Karizma – Groove A ‘K” Ordingly (Atjazz Remix)
FCL – Let’s Go
Ossie – The Power of Love
DJ Gregory & Sidney Samson – Dama S Salon
Plesurekraft – Tarantula (Ghooppee Remix)
Ossie – That’s Mine
Danny Marquez & Tuccillo – Mumba
Ossie – Set The Tone
DJ Gregory – Attend 1
Vikter Duplaix – Manhood
DJ Gregory – Traffic
Bopstar feat. Zara Mc Farlane – Chiaroscuro (Vudoo Reprise)
Marlon D – Jesus Creates Sounds
Ossie – Ossie Baba
This month, Ossie followed it up with arguably an even better second single, the vocoder-led ‘Set the Tone’ on Hyperdub. He also played a show-stopping closing set at our recent party at Cable; time, thought we, to ask him for a mix.
What’s key with Ossie’s productions is that instinctive, live sounding percussion he uses, and his love for natural drums also comes through in his FACT mix. Blended to perfection, they melt and slip into each other like butter. Download the mix below, and check page two for a short Q&A with Ossie.
FACT mix 257 - Ossie (Jun '11) by factmag
Tracklist:
Moloko – Sing It back (Ossie Remix)
Karizma – Groove A ‘K” Ordingly (Atjazz Remix)
FCL – Let’s Go
Ossie – The Power of Love
DJ Gregory & Sidney Samson – Dama S Salon
Plesurekraft – Tarantula (Ghooppee Remix)
Ossie – That’s Mine
Danny Marquez & Tuccillo – Mumba
Ossie – Set The Tone
DJ Gregory – Attend 1
Vikter Duplaix – Manhood
DJ Gregory – Traffic
Bopstar feat. Zara Mc Farlane – Chiaroscuro (Vudoo Reprise)
Marlon D – Jesus Creates Sounds
Ossie – Ossie Baba
To celebrate the event, the legendary Bristol group have made a two hour mixtape that features the majority of the acts playing I’ll Be Your Mirror, including Swans, Godspeed You! Black Emperor, The Books, Factory Floor, DOOM, Grinderman and Company Flow.
ATP I'll Be Your Mirror London Mixtape by All Tomorrows Parties
Tracklist:
* 00.00 “…They Don’t Sleep Anymore on the Beach…” / Monheim – Godspeed You! Black Emperor
* 13.19 We Carry On – Portishead
* 19.44 A Cold Freezin’ Night – The Books
* 23.04 Gazzillion Ear – Doom
* 27.15 You Fucking People Make Me Sick – Swans
* 32.20 Yang Yang – Anika
* 35.11 Real Love – Factory Floor
* 42.32 Infinity Skull Cube – DD/MM/YYYY
* 45.51 Untilted – Helen Money
* 51.42 “Four Spirits In A Room” Excerpt – Alan Moore & Stephen O’Malley
* 56.50 Plaster Casts Of Everything – Liars
* 60.43 8 Steps To Perfection – Company Flow
* 65.23 Written On The Forehead – PJ Harvey
* 68.49 Arabic Emotions – The London Snorkeling Team
* 71.27 Wulfstan – BEAK>
* 77.28 When My Baby Comes – Grinderman
* 84.09 Paris Signals – S.C.U.M.
* 88.30 Lovers With Iraqis – Foot Village
* 92.18 Gratitude – Acoustic Ladyland
* 96.29 Violence – The Telescopes
* 100.01 Hannibal – Caribou
* 106.15 Walk In The Park – Beach House
Wednesday, 1 June 2011
RBG - Gil Scott Heron Godfather of Rap (6 Parts)
Here are the 6 parts of the great documentary - 'RBG - Gil Scott Heron Godfather of Rap'.....
(Part 1)
(Part 2)
(Part 3)
(Part 4)
(Part 5)
(Part 6)
(Part 1)
(Part 2)
(Part 3)
(Part 4)
(Part 5)
(Part 6)
Gil-Scott Heron R.I.P
"Gil Scott-Heron, who died on May 27 aged 62, was a composer, musician, poet and author whose writings and recordings provided a vivid, and often stinging, commentary on social injustice and the black American experience; his declamatory singing style, allied to the overtly political content of his work, made him widely recognised as one of the inspirational figures of rap music." (The Telgraph)
"Scott-Heron first came to attention with his 1970 recording The Revolution Will Not Be Televised, an attack on the mindless and anaesthetising effects of the mass media and a call to arms to the black community: “You will not be able to stay home, brother./You will not be able to plug in, turn on and cop out./You will not be able to lose yourself on skag and skip,/Skip out for beer during commercials,/Because the revolution will not be televised.”
Written when Scott Heron was just 18, it first appeared in the form of a spoken-word recitation, his impassioned incantation accompanied only by congas and bongo drums, on his debut album Small Talk at 125th and Lenox.
The following year Scott-Heron recorded the song for a second time, this time with a full band, for his album Pieces of a Man, and as the B-side to the single Home Is Where The Hatred Is.
The song went on to be covered, sampled and referenced in innumerable recordings, the title entering the lexicon of contemporary phraseology. In 2010 it was named as one of the top 20 political songs by the New Statesman.
Scott-Heron’s music reflected something of the militancy and self-assertiveness of such theorists and polemicists as Malcolm X and Stokely Carmichael. Over the course of some 20 albums he produced a series of sardonic and biting commentaries on ghetto life and racial injustice, including Whitey’s On The Moon, Home Is Where The Hatred Is, The Bottle (a lamentation about people squandering their lives on liquor, set to an irresistibly seductive Latin beat) and the anti-apartheid anthem Johannesburg. But anger was only colour in Scott-Heron’s music palette; songs such as Must Be Something and It’s Your World were moving affirmations of faith in the power of the human spirit.
A tall, rail-thin man with a wispy goatee beard and a countenance of prophetic gravity, Scott-Heron sang in a rough, declamatory voice that was once described as a mixture of “mahogany, sunshine and tears” and that always emphasised lyrical content over technique. The bass player Ron Carter, who played on Scott-Heron’s second album, Pieces of a Man, described it as “a voice like you would have for Shakespeare”.
His vocal style, and his political message, would be a major influence on such groups as Public Enemy and NWA, and would lead to his being described as “the godfather of rap”. It was a title that Scott-Heron himself always deplored: his music covered a far broader and more sophisticated emotional range than the crude rhetoric of so much rap music, which he dismissed on the ground that “you don’t really see inside the person. Instead, you just get a lot of posturing.” He preferred to describe himself as “a bluesologist”.
Gil Scott-Heron was born in Chicago on April 1 1949. He was named after his father, Gilbert Heron, a Jamaican who had settled in America, where his prowess at football (soccer) brought him to the attention of talent scouts from Scotland; in the early 1950s Gilbert snr played football professionally for Celtic and Third Lanark, earning the nickname “the Black Arrow”, before returning to Chicago. It was there that he met Gil’s mother, Bobbie, a librarian and an accomplished singer who had once performed with the New York Oratorial Society.
Scott-Heron would encapsulate his early years in a poem, Coming From A Broken Home: “Womenfolk raised me and I was full grown/before I knew I came from a broken home.” His parents separated when he was two, and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. Scott-Heron would credit his grandmother with being one of the primary influences on his life: “[She] raised me to not sit around and wait for people to guess what’s on your mind — I was gonna have to say it.”
Cultivating his interest in music and literature, she bought him a second-hand piano from a local funeral parlour and introduced him to the writings of the Harlem Renaissance novelist and poet Langston Hughes, who utilised the rhythms of jazz in his poetry and who became a major influence.
When Gil was 12 his grandmother died, and he moved to New York to be reunited with his mother, who brought up her son on her own. On the recommendation of his high school English teacher, Gil won a scholarship to a private school, the Ethical Culture Fieldston School, before going on to study at Lincoln University in Pennsylvania, where Langston Hughes had once been a student.
In his second year at university he was given leave of absence to write a novel, The Vulture (1970), a thriller about ghetto life, while working as a clerk at a dry cleaners. On graduation he published a second novel, The Nigger Factory (1971), about campus unrest, and a collection of poetry, Small Talk at 125th and Lenox.
By now Scott-Heron had begun performing his poetry in coffee houses and jazz clubs, where he was approached by the jazz producer Bob Thiele who, as head of the Impulse label, had recorded such artists as John Coltrane, Sonny Rollins and Dizzy Gillespie, as well as being the co-writer, with George David Weiss, of Louis Armstrong’s What a Wonderful World.
Thiele signed Scott-Heron to his own Flying Dutchman label, and released Small Talk at 125th and Lenox, a live recording of one of Scott-Heron’s club performances. The follow-up Pieces of Man brought him together on record for the first time with Brian Jackson, a keyboard-player, flautist and composer whom he had met at Lincoln University, and who would become his principal collaborator on nine albums.
With Jackson, Scott-Heron refined an intoxicating hybrid of jazz, Latin and Afro idioms that established him in the vanguard of black American music in the 1970s. The success of a single version of The Bottle in 1974 led to his being signed to a major label, Arista. He enjoyed further chart success in 1976 with Johannesburg and, in 1978, with the anti-drug song Angel Dust: “Please, children would you listen, Just ain’t where it’s at. You won’t remember what you’re missin’, but down some dead end streets, there ain’t no turnin’ back.”
These lyrics were to prove ironic, for by the end of the 1980s Scott-Heron was himself beginning to be undermined by drugs use. Between 1970 and 1982 he made 13 albums, but it would be a further 11 years before the release of his 14th, Spirits; the album’s centrepiece was a gruelling three-part explication of the hells of drug addiction, The Other Side. While he continued to perform intermittently, Scott-Heron became a notoriously unreliable figure.
Monique de Latour, a New Zealander photographer who met Scott-Heron in 1995 and lived with him for several years, described how he would frequently vanish for days on end without explanation, often retreating to one of a number of flophouse hotels in Harlem.
In the hope of shocking Scott-Heron out of his addiction, de Latour took to photographing him when he was comatose on drugs and hanging the pictures on the walls; but he refused to look at them. “He didn’t like to look at himself at all,” she recalled. “He didn’t like to look in the mirror.”
In 2000 Scott-Heron was sentenced to 18 to 24 months of in-patient rehabilitation for possession of cocaine and two crack pipes, but given leave to complete a European tour. After failing even to turn up at a subsequent court hearing he was sentenced to between one and three years in prison. Released on parole, in 2003 he was again charged with possession of a controlled substance after cocaine he had hidden in the lining of his bag showed up on an airport x-ray. And in 2006 he was sentenced to two to four years in a New York State prison for violating a plea deal on a drug possession charge by leaving a rehabilitation centre.
In 2010 there was a resurgence of interest in his work when he returned with his first studio album in 16 years, I’m New Here. The record had come about after an English fan and record producer, Richard Russell, had written to Scott-Heron and then visited him in prison on Rikers Island in 2006.
The record put Scott-Heron into an abrasively contemporary musical setting, placing his gruff, time-worn spoken-word recitations — including a reworking of the Robert Johnson blues Me and the Devil — in a setting of dark, down-tempo beats, loops and samples.".
To celebrate the phenominal career of Gil - Kirk Degiorgio has posted a new Sound Obsession show :-
Sound Obsession - Vol 59 - Tribute To Gil Scott-Heron
In a career spanning over two decades, Kirk Degiorgio has earned the tag of 'the producers producer'. From his humble beginnings in 1983 as an electro DJ to his As One productions for Clear, Mo' Wax and Ubiquity, Degiorgio has remained true to his love of everything soulful, edgy and funky. Inspired by a vinyl buying visit to Chicago and Detroit in 1990 Kirk sold all his records and put together ART Studios in the model of those he saw at Transmat and Metroplex. Kirk fused his vision of the Detroit sound with funk and jazz influences resulting in a succession of projects under the names Future/Past, As One, Offworld, Esoterik, Elegy and Super-A-Loof - only recently has he used his actual name for his purist techno releases on the New Religion label. He has remixed artists as varied as Azymuth, Coldcut, 4 Hero, Innerzone Orchestra, Papo Vasquez and many more. His collaborations include work with visionaries like Ian O'Brien, Tony Allen, Carl Craig, and Paul Randolph. From 1992 until 1997 Kirk's ART/OpArt labels released important early productions from B12, Carl Craig, Aphex Twin, The Black Dog, Photek and others. Kirk has also recorded several albums as As One, as well as working as producer, writer, and backing singer for the band The Beauty Room.
TRACKLISTING:
Gil Scott-Heron - On Coming From A Broken Home Pt.1 - XL
Gil Scott-Heron - The Revolution Will Not Be Televised - Flying Dutchman
Gil Scott-Heron - Lady Day And John Coltrane - Flying Dutchman
Gil Scott-Heron - Home Is Where The Hatred Is - Flying Dutchman
Gil Scott-Heron - The Needle's Eye - Flying Dutchman
Gil Scott-Heron - Pieces Of A Man - Flying Dutchman
Gil Scott-Heron - Did You Hear What They Said - Flying Dutchman
Gil Scott-Heron/Brian Jackson - Peace Go With You Brother - Strata East
Gil Scott-Heron/Brian Jackson - Song For Bobby Smith - Strata East
Gil Scott-Heron/Brian Jackson - Winter In America - Arista
Gil Scott-Heron/Brian Jackson - Ain't No Such Thing As Superman - Arista
Gil Scott-Heron/Brian Jackson - A Toast To The People - Arista
Gil Scott-Heron/Brian Jackson - A Lovely Day - Arista
Gil Scott-Heron/Brian Jackson - It's Your World - Arista
Gil Scott-Heron/Brian Jackson - The Bottle (Live) - Arista
Gil Scott-Heron/Brian Jackson - Racetrack In France - Arista
Gil Scott-Heron/Brian Jackson - We Almost Lost Detroit - Arista
Gil Scott-Heron/Brian Jackson - Better Days Ahead - Arista
Gil Scott-Heron/Brian Jackson - Third World Revolution - Arista
Gil Scott-Heron - Legend In His Own Mind - Arista
Gil Scott-Heron - The Train From Washington - Arista
Gil Scott-Heron - Morning Thoughts - Arista
Gil Scott-Heron - B Movie - Arista
Gil Scott-Heron - On Coming From A Broken Home Pt.2 - XL
Gil Scott-Heron - Who Will Pay Reparations On My Soul? - Flying Dutchman
"Scott-Heron first came to attention with his 1970 recording The Revolution Will Not Be Televised, an attack on the mindless and anaesthetising effects of the mass media and a call to arms to the black community: “You will not be able to stay home, brother./You will not be able to plug in, turn on and cop out./You will not be able to lose yourself on skag and skip,/Skip out for beer during commercials,/Because the revolution will not be televised.”
Written when Scott Heron was just 18, it first appeared in the form of a spoken-word recitation, his impassioned incantation accompanied only by congas and bongo drums, on his debut album Small Talk at 125th and Lenox.
The following year Scott-Heron recorded the song for a second time, this time with a full band, for his album Pieces of a Man, and as the B-side to the single Home Is Where The Hatred Is.
The song went on to be covered, sampled and referenced in innumerable recordings, the title entering the lexicon of contemporary phraseology. In 2010 it was named as one of the top 20 political songs by the New Statesman.
Scott-Heron’s music reflected something of the militancy and self-assertiveness of such theorists and polemicists as Malcolm X and Stokely Carmichael. Over the course of some 20 albums he produced a series of sardonic and biting commentaries on ghetto life and racial injustice, including Whitey’s On The Moon, Home Is Where The Hatred Is, The Bottle (a lamentation about people squandering their lives on liquor, set to an irresistibly seductive Latin beat) and the anti-apartheid anthem Johannesburg. But anger was only colour in Scott-Heron’s music palette; songs such as Must Be Something and It’s Your World were moving affirmations of faith in the power of the human spirit.
A tall, rail-thin man with a wispy goatee beard and a countenance of prophetic gravity, Scott-Heron sang in a rough, declamatory voice that was once described as a mixture of “mahogany, sunshine and tears” and that always emphasised lyrical content over technique. The bass player Ron Carter, who played on Scott-Heron’s second album, Pieces of a Man, described it as “a voice like you would have for Shakespeare”.
His vocal style, and his political message, would be a major influence on such groups as Public Enemy and NWA, and would lead to his being described as “the godfather of rap”. It was a title that Scott-Heron himself always deplored: his music covered a far broader and more sophisticated emotional range than the crude rhetoric of so much rap music, which he dismissed on the ground that “you don’t really see inside the person. Instead, you just get a lot of posturing.” He preferred to describe himself as “a bluesologist”.
Gil Scott-Heron was born in Chicago on April 1 1949. He was named after his father, Gilbert Heron, a Jamaican who had settled in America, where his prowess at football (soccer) brought him to the attention of talent scouts from Scotland; in the early 1950s Gilbert snr played football professionally for Celtic and Third Lanark, earning the nickname “the Black Arrow”, before returning to Chicago. It was there that he met Gil’s mother, Bobbie, a librarian and an accomplished singer who had once performed with the New York Oratorial Society.
Scott-Heron would encapsulate his early years in a poem, Coming From A Broken Home: “Womenfolk raised me and I was full grown/before I knew I came from a broken home.” His parents separated when he was two, and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. Scott-Heron would credit his grandmother with being one of the primary influences on his life: “[She] raised me to not sit around and wait for people to guess what’s on your mind — I was gonna have to say it.”
Cultivating his interest in music and literature, she bought him a second-hand piano from a local funeral parlour and introduced him to the writings of the Harlem Renaissance novelist and poet Langston Hughes, who utilised the rhythms of jazz in his poetry and who became a major influence.
When Gil was 12 his grandmother died, and he moved to New York to be reunited with his mother, who brought up her son on her own. On the recommendation of his high school English teacher, Gil won a scholarship to a private school, the Ethical Culture Fieldston School, before going on to study at Lincoln University in Pennsylvania, where Langston Hughes had once been a student.
In his second year at university he was given leave of absence to write a novel, The Vulture (1970), a thriller about ghetto life, while working as a clerk at a dry cleaners. On graduation he published a second novel, The Nigger Factory (1971), about campus unrest, and a collection of poetry, Small Talk at 125th and Lenox.
By now Scott-Heron had begun performing his poetry in coffee houses and jazz clubs, where he was approached by the jazz producer Bob Thiele who, as head of the Impulse label, had recorded such artists as John Coltrane, Sonny Rollins and Dizzy Gillespie, as well as being the co-writer, with George David Weiss, of Louis Armstrong’s What a Wonderful World.
Thiele signed Scott-Heron to his own Flying Dutchman label, and released Small Talk at 125th and Lenox, a live recording of one of Scott-Heron’s club performances. The follow-up Pieces of Man brought him together on record for the first time with Brian Jackson, a keyboard-player, flautist and composer whom he had met at Lincoln University, and who would become his principal collaborator on nine albums.
With Jackson, Scott-Heron refined an intoxicating hybrid of jazz, Latin and Afro idioms that established him in the vanguard of black American music in the 1970s. The success of a single version of The Bottle in 1974 led to his being signed to a major label, Arista. He enjoyed further chart success in 1976 with Johannesburg and, in 1978, with the anti-drug song Angel Dust: “Please, children would you listen, Just ain’t where it’s at. You won’t remember what you’re missin’, but down some dead end streets, there ain’t no turnin’ back.”
These lyrics were to prove ironic, for by the end of the 1980s Scott-Heron was himself beginning to be undermined by drugs use. Between 1970 and 1982 he made 13 albums, but it would be a further 11 years before the release of his 14th, Spirits; the album’s centrepiece was a gruelling three-part explication of the hells of drug addiction, The Other Side. While he continued to perform intermittently, Scott-Heron became a notoriously unreliable figure.
Monique de Latour, a New Zealander photographer who met Scott-Heron in 1995 and lived with him for several years, described how he would frequently vanish for days on end without explanation, often retreating to one of a number of flophouse hotels in Harlem.
In the hope of shocking Scott-Heron out of his addiction, de Latour took to photographing him when he was comatose on drugs and hanging the pictures on the walls; but he refused to look at them. “He didn’t like to look at himself at all,” she recalled. “He didn’t like to look in the mirror.”
In 2000 Scott-Heron was sentenced to 18 to 24 months of in-patient rehabilitation for possession of cocaine and two crack pipes, but given leave to complete a European tour. After failing even to turn up at a subsequent court hearing he was sentenced to between one and three years in prison. Released on parole, in 2003 he was again charged with possession of a controlled substance after cocaine he had hidden in the lining of his bag showed up on an airport x-ray. And in 2006 he was sentenced to two to four years in a New York State prison for violating a plea deal on a drug possession charge by leaving a rehabilitation centre.
In 2010 there was a resurgence of interest in his work when he returned with his first studio album in 16 years, I’m New Here. The record had come about after an English fan and record producer, Richard Russell, had written to Scott-Heron and then visited him in prison on Rikers Island in 2006.
The record put Scott-Heron into an abrasively contemporary musical setting, placing his gruff, time-worn spoken-word recitations — including a reworking of the Robert Johnson blues Me and the Devil — in a setting of dark, down-tempo beats, loops and samples.".
To celebrate the phenominal career of Gil - Kirk Degiorgio has posted a new Sound Obsession show :-
Sound Obsession - Vol 59 - Tribute To Gil Scott-Heron
In a career spanning over two decades, Kirk Degiorgio has earned the tag of 'the producers producer'. From his humble beginnings in 1983 as an electro DJ to his As One productions for Clear, Mo' Wax and Ubiquity, Degiorgio has remained true to his love of everything soulful, edgy and funky. Inspired by a vinyl buying visit to Chicago and Detroit in 1990 Kirk sold all his records and put together ART Studios in the model of those he saw at Transmat and Metroplex. Kirk fused his vision of the Detroit sound with funk and jazz influences resulting in a succession of projects under the names Future/Past, As One, Offworld, Esoterik, Elegy and Super-A-Loof - only recently has he used his actual name for his purist techno releases on the New Religion label. He has remixed artists as varied as Azymuth, Coldcut, 4 Hero, Innerzone Orchestra, Papo Vasquez and many more. His collaborations include work with visionaries like Ian O'Brien, Tony Allen, Carl Craig, and Paul Randolph. From 1992 until 1997 Kirk's ART/OpArt labels released important early productions from B12, Carl Craig, Aphex Twin, The Black Dog, Photek and others. Kirk has also recorded several albums as As One, as well as working as producer, writer, and backing singer for the band The Beauty Room.
TRACKLISTING:
Gil Scott-Heron - On Coming From A Broken Home Pt.1 - XL
Gil Scott-Heron - The Revolution Will Not Be Televised - Flying Dutchman
Gil Scott-Heron - Lady Day And John Coltrane - Flying Dutchman
Gil Scott-Heron - Home Is Where The Hatred Is - Flying Dutchman
Gil Scott-Heron - The Needle's Eye - Flying Dutchman
Gil Scott-Heron - Pieces Of A Man - Flying Dutchman
Gil Scott-Heron - Did You Hear What They Said - Flying Dutchman
Gil Scott-Heron/Brian Jackson - Peace Go With You Brother - Strata East
Gil Scott-Heron/Brian Jackson - Song For Bobby Smith - Strata East
Gil Scott-Heron/Brian Jackson - Winter In America - Arista
Gil Scott-Heron/Brian Jackson - Ain't No Such Thing As Superman - Arista
Gil Scott-Heron/Brian Jackson - A Toast To The People - Arista
Gil Scott-Heron/Brian Jackson - A Lovely Day - Arista
Gil Scott-Heron/Brian Jackson - It's Your World - Arista
Gil Scott-Heron/Brian Jackson - The Bottle (Live) - Arista
Gil Scott-Heron/Brian Jackson - Racetrack In France - Arista
Gil Scott-Heron/Brian Jackson - We Almost Lost Detroit - Arista
Gil Scott-Heron/Brian Jackson - Better Days Ahead - Arista
Gil Scott-Heron/Brian Jackson - Third World Revolution - Arista
Gil Scott-Heron - Legend In His Own Mind - Arista
Gil Scott-Heron - The Train From Washington - Arista
Gil Scott-Heron - Morning Thoughts - Arista
Gil Scott-Heron - B Movie - Arista
Gil Scott-Heron - On Coming From A Broken Home Pt.2 - XL
Gil Scott-Heron - Who Will Pay Reparations On My Soul? - Flying Dutchman
New Podcast by Mala (DMZ) for XLR8R.........Number 200
The second half of XLR8R's two-part 200th podcast comes courtesy of another musical heavyweight, dubstep kingpin Mala (a.k.a. Mark Lawrence).
Whether operating solo or as one half of legendary outfit Digital Mystikz, the man helped put dubstep on the musical map in the mid-'00s, not only as a producer and DJ, but also as the co-founder of the genre-defining DMZ label and club night with Coki and Loefah. Along the way, he also found the time to start up his own Deep Medi imprint. His work has undeniably influenced an entire generation of bass-loving artists, including a large swath of those folks who regularly appear in XLR8R. These days, when he's not travelling the globe and reminding people of the power of sub-bass, he's still turning out new music—most recently last year's Return II Space album—and now he's kicking off a new mix series, Sound*System*Musik, the first chapter of which is this podcast for XLR8R. Over the course of its 45 minutes, Mala drops one low-slung, speaker-rattling tune after the next, many of them DMZ dubplates, and almost all of which seriously emphasize the dub end of the dubstep equation. He's a true master craftsman, someone who manipulates and massages low-end sonics with the precision of a surgeon, making his contribution to the XLR8R podcast series to true pleasure to behold.
01 Mala - Digital Mystikz "Livin' Different VIP" (DMZ)
02 V.I.V.E.K "Feel It" (Deep Medi)
03 Goth-Trad "Seeker"
04 Coki - Digital Mystikz "Ironshirt"
05 Mala "Enter Dimensions"
06 Kryptic Minds + Youngsta "Arcane"
07 Dark Tantrums "Unborn"
08 V.I.V.E.K "Big Bang" (Deep Medi)
09 Mavado "Dem A Talk (TMSV Refix)"
10 Coki "Revolution"
11 Jack Sparrow "Afraid of Me"
12 Mensah "Gambia"
13 The Dub Mechanics "The Clash"
14 Mala "Bad Spirits on Shoulders"
15 Digital Mystikz "Dun Stinky"
16 Commodo "Saracen" (Deep Medi)
17 Coki "Duppy Sour Sap"
18 Johnny Osbourne "Fally Rankin (V.I.V.E.K. Dub Version)" (Greensleeves)
19 Mala "Education" (DMZ)
20 Old Apparatus "Untitled Intro" (Deep Medi)
Click here to download....
01 Mala - Digital Mystikz "Livin' Different VIP" (DMZ)
02 V.I.V.E.K "Feel It" (Deep Medi)
03 Goth-Trad "Seeker"
04 Coki - Digital Mystikz "Ironshirt"
05 Mala "Enter Dimensions"
06 Kryptic Minds + Youngsta "Arcane"
07 Dark Tantrums "Unborn"
08 V.I.V.E.K "Big Bang" (Deep Medi)
09 Mavado "Dem A Talk (TMSV Refix)"
10 Coki "Revolution"
11 Jack Sparrow "Afraid of Me"
12 Mensah "Gambia"
13 The Dub Mechanics "The Clash"
14 Mala "Bad Spirits on Shoulders"
15 Digital Mystikz "Dun Stinky"
16 Commodo "Saracen" (Deep Medi)
17 Coki "Duppy Sour Sap"
18 Johnny Osbourne "Fally Rankin (V.I.V.E.K. Dub Version)" (Greensleeves)
19 Mala "Education" (DMZ)
20 Old Apparatus "Untitled Intro" (Deep Medi)
Click here to download....
FACT mix 250: 2 Bad Mice (Bring back the Oldschool)
Apologies for not posting recently - have been distraceted by life outside the blogsphere...anyway i'm back with a FACT mix recently posted....its Oldschool/Jungle group 2 Bad Mice...... killer.
FACT mix 250 is a time machine. It’s destination? 1991, ’92, ’93, ’94.
This time machine has been built for us by 2 Bad Mice, the original nutters whose early productions – produced in collaboration with Rob Playford – constitute some of early rave’s finest musical moments, and midwifed jungle into life.
Founded in 1991 by Sean O’Keefe and Simon Colebooke, and, in a brilliant contraction of distant points on the map of English culture – dirty raves and bucolic children’s literature – they took their name (and that of their signature, breakthrough track) from Beatrix Potter’s The Tale of Two Bad Mice, about two good-f0r-nowt rodents who vandalise a little girl’s dollhouse. The moniker, with its connotations of mischief, mayhem and bare-faced cheek, was perfect for O’Keefe and Colebrooke’s concoctions of shifty breakbeats, impish vocal loops and earth-quaking sub-bass.
“To be honest, I wasn’t sure about the use of [the name] as I thought it slightly cheesy,” Colebrooke would later recall. “But the anticipation of what could happen with the release made us so excited that it was soon forgotten. Sean knocked up the collage style cover, a test press and promo run were done and we were ready to unleash our first release…”
Key to the power of 2 Bad Mice’s beats was their then third member and producer Rob Playford, in whose poky studio their tracks were laid down in a haze of spliff-smoke. By the time he went on to engineer Goldie’s Timeless, Playford was happily describing drum ‘n bass as the next prog-rock and privileging the album format as the genre’s optimum vessel of expression, but for us the work of his that will truly endure is the more raw, impromptu and altogether less self-aware fare that he produced with 2 Bad Mice and their other collaborative project, Kaotic Chemistry. Taking their cue from souch trailblazers as Shut Up and Dance and Shades Of Rhythm, 2BM and KC brought a hip-hop approach to rave, sampling rhythms and chopping them up and sanding them down into devastatingly lean and mean dancefloor detonators – it’s telling that their most seminal anthem was titled ‘Bombscare’. At times you could be forgiven for thinking otherwise, but the fact is that 2 Bad Mice, unlike so many of their peers, resisted the toytown cartoonishness that’s often part and parcel of ‘ardkore, while also remembereing to make their music fun – just listen to the rollercoasting keyboard vamps, chipmunked soul vocals and parping horns on ‘Hold It Down’. There’s obviously and innocence and naivety to their productions, and that’s part of its charm; at the same time, have you ever heard as deliciously dark-hearted and minimal as ‘Waremouse’?
In parallel to their work as 2 Bad Mice, O’Keeffe, Colebrooke and Playford were making music as Kaotic Chemistry, whose choice of titles and imagery made no secret of rave’s narcotic drive. The front cover image of the Five In One Night EP (which features the classic ‘Drumtrip’) depicted a typical coffee table scene, a hand at the edge of the shot holding a fag and chopping out a line of speed, discarded wrap just out of focus; the photo on the back showed the same table adorned with a pile of pills. If at this stage you were still doubting the inspiration behind the record, the whispered intonation ‘Ecstasy…Ecstasy…Ecstasy…’ that kicks off the title track soon dispelled it. The follow-up LSD EP (Moving Shadow, 1992) tightened up chaotic Kaotic Chemistry sound; the breaks are at once more polished and more punishing, the vocal loops are less comical and more genuinely disorienting, the overall production and manipulation of space terrifically advanced, not just on past 2BM/KC product, but compared to anything being made at the time. ‘Illegal Subs’, ‘Drum Trip II’, ‘Space Cakes’, ‘LSD’ – every track on this EP is exemplary, mingling mirth and menace as only early UK rave can. It really is one of the most essential 12″s of the era, and still sounds rabble-rousing today. All together now: “You are the people of chemistry / the people of physics / the people of civilisation / the people of music / the people of rhythm!”
After that spasm of future-rushing activity across ’91-’94, 2 Bad Mice went quiet, O’Keeffe and Colebrooke choosing to concentrate on other projects and, you know, life. O’Keeffe in particular has produced some extraordinary solo work, especially under his Deep Blue guise, beginning with 1993′s classic ‘The Helicopter Tune’ and continuing right up to the mid-noughties. Having sold in excess of 120,000 records on labels like Moving Shadow, 31 and Good Looking, these days his primary interest “techy, tribal and DEEP house”. But 2 Bad Mice are not dead, oh no.
For the past half-decade or so O’Keeffe and Colebrooke have been treating a new generation of ravers to the initimable 2BM sound. Joined by their old mucker Rhodesy, who remixed ‘Bombscare’ with Rob Haigh in ’94 and worked for Parliament Records and Kiss FM in subsequent years, for their modern-day sets 2BM stay true to their ’91-’94 sound; their sets are a living testament to the potency of the hardcore sound, which despite having created or mutated into myriad different strains of different dance music since, remains unbeaten in its ability to make euphoria and dystopia feel like natural bedfellows.
2 Bad Mice play the resurgent Glade Festival on June 10. Other acts on the whopping bill include Photek, Untold, Hyetal, Machinedrum, Ben UFO, Object and Pangaea. It’s worth noting that none – repeat, none – of these artists would exist in the form that they do without 2 Bad Mice, so whether your a craggy old-skool survivor or a fresh-faced rave debutante, be sure to go pay your respects and experience the party of your life while you’re at it. More information and tickets here.
FACT Mix 250 - 2 Bad Mice (May '11) by factmag
And so….here we have 2 Bad Mice’s FACT mix. It’s out 250th episode, something of a landmark, and we’re delighted to have Sean, Si and Rhodesy behind the decks for the occasion. Mixed with deadly precision, it’s essentially a greatest hits of hardcore and early jungle, all killer and no filler. With the possible exception of last week’s Machinedrum workout, we’re hard-pressed to think of a 2011 FACT mix this year that we’ve enjoyed quite this much. Whether you know ‘Space Cakes’, ‘Rockin’ Down The House’, ‘Bombscare’ et al like the back of your hand, or whether it’s all new to you, we strongly urge you to batten down the hatches and get raving.
TRACKLISTING:
1. Underkut – “Both Ends” Mendoza
2. Da Juice “Hear The Angels” Torso
3. Walters & Allen “On De Ball” Mendoza
4. 2 Bad Mice “Bombscare” Moving Shadow
5. Kicks Like A Mule “The Bouncer” Tribal Bass
6. Code 071 “A London Sumtin” Reinforced
7. The Sorcerer “Odyssey” ADR
8. MC Jay J & DJ Devious D “Time Of Our Lives” Awesome
9. Kaotic Chemistry “Space Cakes” Moving Shadow
10. Chemical Company “Define the Beat” White Label
11. M17 “Rockin’ Down The House” Chill
12. DJ Phantasy & DJ Seduction “DJ’s Unite” Impact
13. Edge 1 “Compounded” Edge Records
14. DJ Tim & DJ Misjah “Access” (Rhodesy VIP) X-Trax
15. Urban Hype “Trip” (Renmix) Faze 2
16. Phuture Assassins “Future Sound” (2 Bad Mice Remix) Suburban Bass
FACT mix 250 is a time machine. It’s destination? 1991, ’92, ’93, ’94.
This time machine has been built for us by 2 Bad Mice, the original nutters whose early productions – produced in collaboration with Rob Playford – constitute some of early rave’s finest musical moments, and midwifed jungle into life.
Founded in 1991 by Sean O’Keefe and Simon Colebooke, and, in a brilliant contraction of distant points on the map of English culture – dirty raves and bucolic children’s literature – they took their name (and that of their signature, breakthrough track) from Beatrix Potter’s The Tale of Two Bad Mice, about two good-f0r-nowt rodents who vandalise a little girl’s dollhouse. The moniker, with its connotations of mischief, mayhem and bare-faced cheek, was perfect for O’Keefe and Colebrooke’s concoctions of shifty breakbeats, impish vocal loops and earth-quaking sub-bass.
“To be honest, I wasn’t sure about the use of [the name] as I thought it slightly cheesy,” Colebrooke would later recall. “But the anticipation of what could happen with the release made us so excited that it was soon forgotten. Sean knocked up the collage style cover, a test press and promo run were done and we were ready to unleash our first release…”
Key to the power of 2 Bad Mice’s beats was their then third member and producer Rob Playford, in whose poky studio their tracks were laid down in a haze of spliff-smoke. By the time he went on to engineer Goldie’s Timeless, Playford was happily describing drum ‘n bass as the next prog-rock and privileging the album format as the genre’s optimum vessel of expression, but for us the work of his that will truly endure is the more raw, impromptu and altogether less self-aware fare that he produced with 2 Bad Mice and their other collaborative project, Kaotic Chemistry. Taking their cue from souch trailblazers as Shut Up and Dance and Shades Of Rhythm, 2BM and KC brought a hip-hop approach to rave, sampling rhythms and chopping them up and sanding them down into devastatingly lean and mean dancefloor detonators – it’s telling that their most seminal anthem was titled ‘Bombscare’. At times you could be forgiven for thinking otherwise, but the fact is that 2 Bad Mice, unlike so many of their peers, resisted the toytown cartoonishness that’s often part and parcel of ‘ardkore, while also remembereing to make their music fun – just listen to the rollercoasting keyboard vamps, chipmunked soul vocals and parping horns on ‘Hold It Down’. There’s obviously and innocence and naivety to their productions, and that’s part of its charm; at the same time, have you ever heard as deliciously dark-hearted and minimal as ‘Waremouse’?
In parallel to their work as 2 Bad Mice, O’Keeffe, Colebrooke and Playford were making music as Kaotic Chemistry, whose choice of titles and imagery made no secret of rave’s narcotic drive. The front cover image of the Five In One Night EP (which features the classic ‘Drumtrip’) depicted a typical coffee table scene, a hand at the edge of the shot holding a fag and chopping out a line of speed, discarded wrap just out of focus; the photo on the back showed the same table adorned with a pile of pills. If at this stage you were still doubting the inspiration behind the record, the whispered intonation ‘Ecstasy…Ecstasy…Ecstasy…’ that kicks off the title track soon dispelled it. The follow-up LSD EP (Moving Shadow, 1992) tightened up chaotic Kaotic Chemistry sound; the breaks are at once more polished and more punishing, the vocal loops are less comical and more genuinely disorienting, the overall production and manipulation of space terrifically advanced, not just on past 2BM/KC product, but compared to anything being made at the time. ‘Illegal Subs’, ‘Drum Trip II’, ‘Space Cakes’, ‘LSD’ – every track on this EP is exemplary, mingling mirth and menace as only early UK rave can. It really is one of the most essential 12″s of the era, and still sounds rabble-rousing today. All together now: “You are the people of chemistry / the people of physics / the people of civilisation / the people of music / the people of rhythm!”
After that spasm of future-rushing activity across ’91-’94, 2 Bad Mice went quiet, O’Keeffe and Colebrooke choosing to concentrate on other projects and, you know, life. O’Keeffe in particular has produced some extraordinary solo work, especially under his Deep Blue guise, beginning with 1993′s classic ‘The Helicopter Tune’ and continuing right up to the mid-noughties. Having sold in excess of 120,000 records on labels like Moving Shadow, 31 and Good Looking, these days his primary interest “techy, tribal and DEEP house”. But 2 Bad Mice are not dead, oh no.
For the past half-decade or so O’Keeffe and Colebrooke have been treating a new generation of ravers to the initimable 2BM sound. Joined by their old mucker Rhodesy, who remixed ‘Bombscare’ with Rob Haigh in ’94 and worked for Parliament Records and Kiss FM in subsequent years, for their modern-day sets 2BM stay true to their ’91-’94 sound; their sets are a living testament to the potency of the hardcore sound, which despite having created or mutated into myriad different strains of different dance music since, remains unbeaten in its ability to make euphoria and dystopia feel like natural bedfellows.
2 Bad Mice play the resurgent Glade Festival on June 10. Other acts on the whopping bill include Photek, Untold, Hyetal, Machinedrum, Ben UFO, Object and Pangaea. It’s worth noting that none – repeat, none – of these artists would exist in the form that they do without 2 Bad Mice, so whether your a craggy old-skool survivor or a fresh-faced rave debutante, be sure to go pay your respects and experience the party of your life while you’re at it. More information and tickets here.
FACT Mix 250 - 2 Bad Mice (May '11) by factmag
And so….here we have 2 Bad Mice’s FACT mix. It’s out 250th episode, something of a landmark, and we’re delighted to have Sean, Si and Rhodesy behind the decks for the occasion. Mixed with deadly precision, it’s essentially a greatest hits of hardcore and early jungle, all killer and no filler. With the possible exception of last week’s Machinedrum workout, we’re hard-pressed to think of a 2011 FACT mix this year that we’ve enjoyed quite this much. Whether you know ‘Space Cakes’, ‘Rockin’ Down The House’, ‘Bombscare’ et al like the back of your hand, or whether it’s all new to you, we strongly urge you to batten down the hatches and get raving.
TRACKLISTING:
1. Underkut – “Both Ends” Mendoza
2. Da Juice “Hear The Angels” Torso
3. Walters & Allen “On De Ball” Mendoza
4. 2 Bad Mice “Bombscare” Moving Shadow
5. Kicks Like A Mule “The Bouncer” Tribal Bass
6. Code 071 “A London Sumtin” Reinforced
7. The Sorcerer “Odyssey” ADR
8. MC Jay J & DJ Devious D “Time Of Our Lives” Awesome
9. Kaotic Chemistry “Space Cakes” Moving Shadow
10. Chemical Company “Define the Beat” White Label
11. M17 “Rockin’ Down The House” Chill
12. DJ Phantasy & DJ Seduction “DJ’s Unite” Impact
13. Edge 1 “Compounded” Edge Records
14. DJ Tim & DJ Misjah “Access” (Rhodesy VIP) X-Trax
15. Urban Hype “Trip” (Renmix) Faze 2
16. Phuture Assassins “Future Sound” (2 Bad Mice Remix) Suburban Bass
Tuesday, 26 April 2011
New Banksy artwork appeared last night......
This morning when I drove pass BT Tower, I noticed a new peice of graffiti - it was a BANKSY - could it be new, was he there last night ?
Wednesday, 6 April 2011
JACK IS BACK - Meat Beat Manifesto's London GIG - 1 day away.....
The '80s electro duo from Swindon return, comprised of Jack Dangers and Jonny Stephens.....
Tuesday, 29 March 2011
New Selection - Hold Box Flat 036
HBF036 by holdboxflat
TRACKLISTING
TRACKLISTING:
Soul Mann and The Brothers / Bumpy's Lament // Pickwick International Inc.
InfinitiRock / SpaceOut // Base Trip Records <-- free download
George Fitzgerald / Tell Me (Dubstep Refix) // White Label
Koreless / 4D // Pictures Music
Build An Ark / World Peace Now // Kindred Spirits
Raphael / Hommage a Kabylie // Selection Records
Mariella / Lovesick (MdCL Remix) // Tru Statement Records
Brotto / Perma Culture // Tea and Cake Records <-- free download
Luminiscent / Syntax // Independent
Busta Rhymes / Still Shining // Elektra Records
Frente Cumbiero / Pitchito // Strutt Records
Ofege / Amayo // EMI (Nigeria)
Kraftwerk / Atem // Vertigo
Bill Laswell & Jean Touitou / Cuban Beat // A.P.C
The KLF / 3am Somewhere Out Of Beaumont // KLF Communications
Ravi Shankar / Scenic Tour // World Pacific
Roy Budd / Main Theme - Carter Takes A Train // Castle Communications
Paz / The Buddha // Spotlite Records
Sabu Martinez / Wounded Knee // Pure Records
Sly and The Family Stone / Small Talk / Epic
Patrice Rushen / (She Will) Take You Down To Love // WEA Records
Martine Girault / Revival // FFRR
Orphies / Quiet... Aliens Talking // Realtime Records
Paperclip People / Remake (Basic Reshape) // Planet E
Theorem / Shift // M_nus
Master C & J / In The City // State Street Records
Madlib / The Ride (Nightcoastin' Instrumental) // Madlib Invazion
InfinitiRock / Castillian // Base Trip Records
4th Measure Men / 4 You (Maya Jane Coles Remix) // Defected
Napihedz / Jah Bless // Prime Numbers
Onmutu Mechanicks / Lupos Moon // Echocord
June Miller / Half Top Feel // Horizons
Calibre / Manchester Nights // Signature Records
Mobb Deep / Give Up The Goods (Just Step) (with Big Noyd) // BMG
Jeru The Damaja / Whatever // PolyGram Records
Saturday, 19 March 2011
The Stepkids - New 3 peice outfit from Conneticut
The Stepkids are three singer/songwriters. “A lot of what excites us about this band is this band itself,” says bassist and keyboardist Dan Edinberg. “It’s not either of us; it’s about creating an entity where the entity itself is what’s important.” As a result, every song on the Stepkids self-titled debut album is written with equal input from each member.
“All three of us write and all three of us sing,” says Jeff Gitelman, who resigned from touring as Alicia Keys' guitarist to concentrate full-time on recording the Stepkids self-titled debut album. Drummer Tim Walsh continues, “There's an equal split in the creative process. Any lyric, any melody, any idea could have been done by any of us.”
This approach comes from more than a decade of musical experimentation and experience. Raised on the East Coast jazz and R&B circuit, individual band members went on to share stages with 50 Cent and Lauryn Hill, tour internationally with indie punk band Zox, score movies and commercials and produce solo albums.
The Stepkids groove is a fusion of punk and jazz, West African and 1960s folk, neo and classic soul, classic funk and 20th century classical. The band produce, engineer and record themselves on a reel-to-reel.
There’s no singular icon, no singular sound, and no singular way of making it happen for the Stepkids. It’s psychedelia for the 21st century, where the focus is on the whole
The Stepkids - Shadows On Behalf by stonesthrow
There Offical Website is HERE.
Check there Twitter feed HERE.
You can listen to a live set and interview they did for Break Through Radio below.....
“All three of us write and all three of us sing,” says Jeff Gitelman, who resigned from touring as Alicia Keys' guitarist to concentrate full-time on recording the Stepkids self-titled debut album. Drummer Tim Walsh continues, “There's an equal split in the creative process. Any lyric, any melody, any idea could have been done by any of us.”
This approach comes from more than a decade of musical experimentation and experience. Raised on the East Coast jazz and R&B circuit, individual band members went on to share stages with 50 Cent and Lauryn Hill, tour internationally with indie punk band Zox, score movies and commercials and produce solo albums.
The Stepkids groove is a fusion of punk and jazz, West African and 1960s folk, neo and classic soul, classic funk and 20th century classical. The band produce, engineer and record themselves on a reel-to-reel.
There’s no singular icon, no singular sound, and no singular way of making it happen for the Stepkids. It’s psychedelia for the 21st century, where the focus is on the whole
The Stepkids - Shadows On Behalf by stonesthrow
There Offical Website is HERE.
Check there Twitter feed HERE.
You can listen to a live set and interview they did for Break Through Radio below.....
Friday, 18 March 2011
New HOLD BOX FLAT podcast - No. 35
New podcast from the guys at HOLD BOX FLAT.... looks like another killer show...... download from the soundcloud page below.....
HBF035 by holdboxflat
TRACKLISTING
Tyler, The Creator / Yonkers // XL
GraveDiggaz / 1-800 Suicide // Gee Street
The Notorious B.I.G / Who Shot Ya // Bad Boy
The Notorious B.I.G / The What // Bad Boy
The Notorious B.I.G / What's Beef // Bad Boy
The Notorious B.I.G / Things Done Changed // Bad Boy
Strong Arm Steady / Loose Girl (Electronic Drunk Demon Version) // Stones Throw
Dorian Concept / Her Tears Taste Like Pears // Ninja Tune
Guem Et Zaka Percussion / Le Serpent // Harmonia Mundi France
Moritz Von Oswald Trio / Structure 1 // Honest Jons Records
Cooly G / Floating // Dub Organizers
Fatima / Red Light // Eglo
Owiny Sigoma Band / Wires (Theo Parrish Remix) // Brownswood
Cosmin TRG / Negligee // Rush Hour
Radiohead / LotusFlower // Self Released
Ghostpoet / Cash & Carry Me Home (Ean Remix) // Brownswood
Koreless / MTi // Pictures Music
D'Marc Cantu / Set Free // MOS Holland
Boddika / Bodikka's House // [Naked Lunch]
Gill Scott-Heron and Jamie xx/ I'll Take Care Of U (Special DJ Version) // XL Recordings
Actress / Gershwin // Nonplus Records
Radiq / Luv N Pain // Deep Raw and Real pt 3
Virgo Four / I Have Always Wanted // Rush Hour
Raphael / Archangelo // Heavenly Sweetness
Kelan Phil Cohran and Legacy / White Nile // Captcha Records
The East Side Symphony / Hot Pants Road // Trans Air
Those Shocking Shaking Days / Panbers 'Haai' // NowAgain Records
William Onyeabor / Why Go To War
GraveDiggaz / Nowhere To Run, Nowhere To Hide // Gee Street
Johnny Clarke / Don't Trouble Trouble
Chrissy Murderbot / Da Vibe Iz So Rite (ft. MC Zulu - Rashad & Spinn Remix) // Planet Mu
DJ Roc / Let's Get It Started // Planet Mu
Kahn / Helter Skelter // Punch Drunk
Photek / This City (DJ Extended Version) // Photek Productions
Virgo Four / Let The Music Play // Rush Hour
Totally Enormous Extinct Dinosaurs / Waulking Song (2 Bears remix) // Greco Roman
HBF035 by holdboxflat
TRACKLISTING
Tyler, The Creator / Yonkers // XL
GraveDiggaz / 1-800 Suicide // Gee Street
The Notorious B.I.G / Who Shot Ya // Bad Boy
The Notorious B.I.G / The What // Bad Boy
The Notorious B.I.G / What's Beef // Bad Boy
The Notorious B.I.G / Things Done Changed // Bad Boy
Strong Arm Steady / Loose Girl (Electronic Drunk Demon Version) // Stones Throw
Dorian Concept / Her Tears Taste Like Pears // Ninja Tune
Guem Et Zaka Percussion / Le Serpent // Harmonia Mundi France
Moritz Von Oswald Trio / Structure 1 // Honest Jons Records
Cooly G / Floating // Dub Organizers
Fatima / Red Light // Eglo
Owiny Sigoma Band / Wires (Theo Parrish Remix) // Brownswood
Cosmin TRG / Negligee // Rush Hour
Radiohead / LotusFlower // Self Released
Ghostpoet / Cash & Carry Me Home (Ean Remix) // Brownswood
Koreless / MTi // Pictures Music
D'Marc Cantu / Set Free // MOS Holland
Boddika / Bodikka's House // [Naked Lunch]
Gill Scott-Heron and Jamie xx/ I'll Take Care Of U (Special DJ Version) // XL Recordings
Actress / Gershwin // Nonplus Records
Radiq / Luv N Pain // Deep Raw and Real pt 3
Virgo Four / I Have Always Wanted // Rush Hour
Raphael / Archangelo // Heavenly Sweetness
Kelan Phil Cohran and Legacy / White Nile // Captcha Records
The East Side Symphony / Hot Pants Road // Trans Air
Those Shocking Shaking Days / Panbers 'Haai' // NowAgain Records
William Onyeabor / Why Go To War
GraveDiggaz / Nowhere To Run, Nowhere To Hide // Gee Street
Johnny Clarke / Don't Trouble Trouble
Chrissy Murderbot / Da Vibe Iz So Rite (ft. MC Zulu - Rashad & Spinn Remix) // Planet Mu
DJ Roc / Let's Get It Started // Planet Mu
Kahn / Helter Skelter // Punch Drunk
Photek / This City (DJ Extended Version) // Photek Productions
Virgo Four / Let The Music Play // Rush Hour
Totally Enormous Extinct Dinosaurs / Waulking Song (2 Bears remix) // Greco Roman
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