Saturday, 29 July 2017

Jackson - Keep Swimming (Video)

In an age of rapidly shrinking revenues and dying platforms for unsigned and new artists, there's an understandable shift of focus for those attempting to fulfill their musical dreams. After all, everyone needs to put food on the table.
Artists find the lure of the crowd-pleaser difficult to resist. Bands across the world find that cover song they used to close with is the only song anyone seems to want to hear nowadays... so they do another. And another. And soon enough their set is predominantly covers, with the odd original apologetically thrown in.
It's hard to blame them - Money is king, yet doesn't grow on trees. Plus, if money is King, in the musical landscape Nostalgia must have a fairly strong claim to the throne. Edits, Remixes, Covers, and Reissues all easily outstrip sales of new music.
So we could forgive Jackson for toning down their idiosyncracy, smoothing out their edges and delivering their 3rd record as a smooth jazz/funk record with pop stylings. And of course a few covers.

That would, however, be predictable, dull and disappointing to these pages. We love music that sticks to its guns and Jackson shows absolutely no sign of compromising.

I've had a sneak listen to the forthcoming Push Through EP and it's as woozy, highbrow and twisted as its predecessors, only there's a palpable anger underpinning this record. I've heard them likened to Jamiroquai, but I don't hear that. It's got far more in common with Roy Ayers and Gil Scott Heron, for me. We'll no doubt be reviewing the full record on its release, but for now let's focus on the first video from the release - a bristling live action performance of Keep Swimming.

Kicking off with 5 x DMC Champion scratchmaster cum vocalist Asian Hawk (whose voice is perhaps what elicits the Jamiroquai comparisons), Keep Swimming immediately melds some incredibly disaparate sounds. The vocals could just as easily be from an early 90s Mudhoney record. Cuts like an experimental DJ Shadow joint. Beats in 3/4 and mesmeric, loping instrumentatin a la Art Ensemble of Chicago or Pharoah Sanders, plus distorted guitars that could come from an early Tool record... it shouldn't really work, but it's glorious.
Giving a deserved platform to the exceptional performance calibre Jackson have at their disposal, the video, in contrast to its soundtrack, is unfussy and played with a straight bat - simple portraiture of a band at the top of their game.

Get the first two Jackson records here 

Friday, 26 May 2017

Tony Allen & Afrobeat 2000 - NEPA (Don Dayglow Remix)

More Afrobeat meets Disco here as the devilishly handsome and charismatic Don Dayglow reimagines Tony Allen's 1984 jam NEPA Dance Dub

Free Download too!

Thursday, 25 May 2017

Benjamin Ball - I Just Keep Dancing (Soul Clap Edit)

You may recall we previously featured the wonderful Boogie Breakdown -South African Disco 1980 to 1984 compilation a year or so... well, the folks at Cultures of Soul have enlisted the heavyweight prowess of the esteemed Soul Clap crew to remix a track from the aforementioned compilation... and quite a job they've done too. Accompanying the original by Benjamin Ball, this is a 12" that will have the discerning dancefloor on fire from Soul Clap's resident New York to the furthest corner of the globe (I'll be spinning it in Abu Dhabi, that's for sure)

Licensed directly from the artist and housed in a custom disco sleeve this edit won't be available anywhere else. 
Coming out on June 9th pre-order here. 

Tramp Precords - Praise Poems Vol. 5

The ridiculously consistent Tramp Records return with the 5th instalment in their Praise Poems series

True to form, we're presented with a delicious collection of deep, soulful jazz with traces of funk, gospel, blue-eyed soul and blues in varying measure. 

Release date:9 June 2017
Genre:Soul / Funk / Reissue
Label:Tramp Records
Format(s):2LP / CD / DIGITAL
Cat #:TR9066

Thursday, 18 May 2017

Ambassa feat Nichola Richards - Ride The Samples

“Ride The Samples” is a project that pays tribute to some of the original songs that - thanks to sampling - later became the building blocks of world-famous hip-hop classics.

Following up the sold-out success of the two previous singles released on 7’’ vinyl, “Ride The Samples” is Wakeditown’s first-ever LP. Produced entirely by Italian-born bass player and producer Matia ‘Ambassa’ Gobbo, it features London-born soul singer Nichola Richards on vocals throughout. The combination of an early-80s reggae style on the production and a sweet, soul-infused style of singing makes ‘Ride The Samples’ truly unique. Italian dubmaster Paolo ‘Dubfiles’ Baldini, perfectly completes the sound with his dub-flavoured distinctive mixing style.

“Ride The Samples” is our approach to preserving the mix of these genres, celebrating the original soul samples on which world-famous hip-hop classics are based.

Release date: 2 June 2017
Genre: Reggae / Dub / Soul
Label: Wakeditown Records
Format(s): LP / DIGI
Cat #: WDT0004

Tuesday, 2 May 2017

The Impellers - As Sampled By (Final LP!)

The Impellers - As Sampled By

So my old mates The Impellers are hanging up their collective boots, at least as The Impellers. I'm sure we haven't heard the last of them individually, but the band have put together a fine, final folio of funk.
Doing what they do best as a live act, they've brought the funk to a well-chosen array of funk and soul as sampled by the creme de la creme of Hip-Hop and Beats, performed live and consecutively, in the style of a DJ mix. As if the LP title didn't give that away.

Farewell, The Impellers, it's been a blast!

Here's what they have to say about it all:  

At long last, here's the 2 x 180g vinyl edition of the final album by The Impellers.

With exclusive hand-drawn art from Jamie Groovement and design by Rob Crespo, we're really excited about how good this record looks. And it sounds pretty decent too.

44 classic breaks, as sampled by the pioneers of hip hop and drum n bass, played and mixed live by a 12 piece powerhouse heavy funk band. 

Played live, but mixed as if by a DJ, this album features versions of breaks sampled by the likes of De La Soul, Eminem, Dre, Eric B & Rakim, Public Enemy, N.W.A, Kendrick, Run DMC, The Beasties, J5, Big Daddy Kane, ATCQ, The Prodigy, DJ Shadow and Goldie (and just about every DnB producer that ever lived). 

Heavy funk, soul and breaks band The Impellers have been killing dancefloors across Europe with this material for the past 5 years but now you can check it for yourself on record for the first time.

The first 50 copies sold will come with a free vinyl copy of The Impellers' 3rd album, My Certainty

As Sampled By - credits:

Music performed by The Impellers 
Mixed by Chris Evans-Roberts at Ithaca Audio 
Recorded at Yellow Fish Studios 
Mastered by Nick Lewis at Brighton Mastering 
Hand-drawn art by Jamie Groovement 
Design by Rob Crespo

The Impellers are:
Glenn Fallows - Guitar, Piano, Organ
Clair Fallows - Lead vocal
Ed Breaker - Bass
Tom Henderson - Drums
Barry Lalanne - Guitar
Joel Essex - Percussion
Darren Smith - Tenor Sax
Chris Evans-Robert - Alto Sax
Mark Yexley - Trumpet
Emma Black - Baritone Sax

Monsalve Y Los Forajidos - Abeja (Olindo Records)

Afro-Latin vibes from Paris on Lindo Records

Olindo Records is born in London from the music obsessives behind Colectivo Futuro, a cultural node where art forms and people converge. The collective is formed by a group of DJs, graphic designers, and artists who are committed to showcasing and collaborating with individuals and collectives that carry a passionate approach and a common aesthetic.

The label’s first release comes from the Paris-based septet Monsalve Y Los Forajidos, led by Venezuelan bassist Raul Monsalve, the band is an amalgamation of sounds and influences that revolve around traditional afro-latin styles of music with a heavy dose of psychedelia and funk. Both tracks originally appeared on the band’s self-released Volumen Dos album, but are presented here in vinyl for the first time.

The cuts presented here are only a small example of the music championed by the label’s founders on their Boom Music show for Music Is My Sanctuary

With Olindo Records, they hope to cover a wide variety of music for and from the soul.

V.A - Virtue Recording Studio (Tramp)

Brand new on Tramp... Out May 5th in all good stores

Frank Virtue built his first studio, Virtue Recording Lab, in the basement of his Philadelphia home at 8500 Fayette Street. It was here that his trio The Virtues recorded their hit arrangement “Guitar Boogie Shuffle”. The tune reached No.3 on the U.S. Billboard Chart and sold over 2 million copies worldwide. Soon after, Virtue disbanded the group and devoted himself to studio work full time. In 1962 he used the revenue from “Guitar Boogie Shuffle” to finance the opening of Virtue Recording Studios at 1618 North Broad Street.

In the late 1960’s the studio was home to Dyno Dynamic Productions, who released smash records like Eddie Holman’s “Hey There Lonely Girl” and the Volcano’s “Boogaloo Down Broadway”. Virtue Recording Studio offered a package deal allowing artists to pay a flat fee of $300-$500 for the recording of two songs. What resulted were some of the most prized garage and soul 45s, sought after for their unusual, low fidelity sound.

This release includes music legitimately licensed on CD/digital for the first time. Unseen photographs and detailed liner notes can be found in the 12-page CD booklet and the vinyl LP.

Saturday, 22 April 2017

Record Store Day 2017

RSD turns 10 today, and as usual heralds a cavalcade of cracking, crackling wax. We think that's cause for celebration and have highlighted the releases we think pack the most punch. Miley Cyrus' gatefold-LP reissue of Bangerz does not make the cut.
Of course, RSD has it's drawbacks and we regret we can't assist if every copy of that Dark Crystal OST you've had your eye on has been poached by some sheister at 3am and is now on ebay for thrice the price.
It's also become somewhat more mainstream and an excuse to reissue albums that either don't deserve it or are on their third of fourth RSD repress (Vangelis' excellent Blade Runner OST, for example) so we're not without our criticisms. However, there are still some notable offers from the main draw, and most good record stores will have their own specialities, not to mention the countless pop-up shops and market stalls. So get out there and get digging!

Here are our Top 5 RSD releases:

Nigerian Soul Power

"Soul Jazz"

Soul Jazz Records’ Record Store Day Exclusive Limited-Edition Nigeria Soul Power 7” Box Set comprising five heavyweight 70s Afro-Funk, Afro-Disco & Afro-Rock seven-inch singles all with unique bespoke label artwork and all digitally re-mastered. Seriouly rare, killer and classic Nigerian 70s Afro-Funk, Afro-Disco & Afro-Rock tunes bought together here in this unique one-off Record Store Day box-set edition.

Record 1 A: Geraldo Pino – Heavy, Heavy, Heavy AA: Geraldo Pino – Africans Must Unite 
Record 2 A: Wings – We’ll Get Home AA: Wings –Single Boy 
Record 3 A: Tony Grey and The Ozimba Messengers – You Are The One AA: Don Bruce and The Angels – Sugar Baby 
Record 4 A: Geraldo Pino – Shake Hands AA: Geraldo Pino – Power To The People 
Record 5 A: MFB – Beware  AA:  Colomach – Kassa Kpa Sama


"Fortune"/"I Wanna Be A Free Girl"

Split 7" between Fat Possum artists Temples & Kadhja Bonet. Temples share a b-side from their recently released sophomore album, Volcano. Kadhja Bonet stretches her wings with her take on Dusty Springfield's classic "I Wanna Be A Free Girl"

"Fortune"/"I Wanna Be A Free Girl"


Discipline 27-11

Recorded during the same 1972 sessions as Impulse's Space Is the Place, Discipline 27-II is definitely cut from the same cloth. The title cut is a side-long space chant number (just like "Space Is the Place"), presumably recorded as one lengthy piece, although the tune itself is divided into three sections (radio edits?). Listeners also get another in the instrumental Discipline series (Ra composed and recorded many Disciplines throughout the '70s); this time it's "Discipline 8." "Neptune" is another great space chant ("Have you heard the latest thing from Neptune?"), but the standout track is "Pan Afro," a great blowing session built on Ra's trademark interlocking horn riffs. A tough one to find, Discipline 27-II is well-worth seeking out, especially for those who like Space Is the Place.


Arthur Verocal

Brazilian 1970s maestro Arthur Verocal's folk-jazz magic. The original is super sought after so it's nice to see this quality repress from Mr Bongo. Half speed cut limited edition version. 180g with gatefold paste-on sleeve. Inclues ltd ed print


"Navy A Go Go"/"Old Pot Still Cooks Good Rice"

Dance tracks by two of Cambodia's most celebrated singers, Ros Serey Sothea ("the golden voice of the capital") and Sinn Sisamouth (the undisputed king of Cambodian popular music), as featured on the soundtrack to the critically acclaimed 2015 documentary Don't Think I've Forgotten: Cambodia's Lost Rock and Roll (DTD 042CD/PT 2007LP). "Melding Eastern melody with Western groove in ways that are still strikingly fresh. . . . remains treasured not only by Cambodians but also by rock connoisseurs around the world." --Ben Sisario, The New York Times

A1. Sinn Sisamouth - Navy A Go Go B1. Ros Serey Sothea - Old Pot Still Cooks Good Rice

Thursday, 20 April 2017

Doseone: Enter The Gungeon/Disc Room

Our favourite rapper, possibly (sorry Aesop), Doseone is always making bold and unexpected moves. In fact calling him a rapper is a bit silly, since he's also a composer, painter, producer; a polymath of the highest calibre. His newest output sees him providing video game soundtracks for a couple of indie video games: Enter the Gungeon and Disc Room.
I can safely say I will never play the games themselves, but the audio work is quite remarkable... Disc Room comprises sub-minute snippets of sound designed for individual scenes (levels? chapters?) which are actually consecutive slices of the same song in succession. Enter The Gungeon's audio rattles along too, at a slightly more expansive average duration of around 1:30, and climaxes with the exceptional, eponymous theme, which is just bloody brilliant.

Available exclusively on Bandcamp, which is a shame as I'd love a vinyl copy.

Apostles of Aba: Banko Woman

We're back! Babies, marriages, migrations, new jobs etc reduced CMCFP productivity in 2016 to a resounding zero... but it's time to resurrect the blog. Aptly just after Easter, for resurrection fans everywhere.

Alright so we'll kick off with a new release from one of our favourite reissue labels, Cultures of Soul:

They've got a super rare 45 from highly sought after 70s Nigerian outfit The Apostles of Aba, and have this to say about it:

For over forty years, the Apostles of Aba have stood as the jewel in the crown of the music scene in Eastern Nigeria. Since their formation in 1973, the band has turned out memorable performances in a variety of styles including rock, soul, funk, pop and reggae. Even today, the Apostles continue to thrill audiences in their hometown of Aba with dazzling shows.
Cultures of Soul is proud to present one of the Apostles’ more obscure—yet relentlessly funky recordings: Banko Woman, originally released on the eponymous LP on Love Day Records in 1977. Straddling the world realms of afro-funk and disco, the track has long been a coveted dance floor filler amongst DJs, and for the first time is available for a wider audience. On the B-side is “Faith, Luck & Music,” also from the original Banko Woman album. Coming out as a limited edition 7 inch on May 19th!

Not to be confused with my co-blogger Dann, who is an Apostle for ABBA (don't ask), this is a straight up banger that will be a floor-filler for the more discerning DJs and Funk/Afrophiles everywhere. More like this please!

Thursday, 7 January 2016

The Woodleigh Research Facility:The Phoenix Suburb (And Other Stories)

Happy New Year to you all! We've been lost in a world of seedy parties with Z-list celebrities and fading 90s popstars. Sorry for the lack of posts as a result but Elastica's coke won't sniff itself*

Anyway, moving swiftly on from lawsuit-risking, baseless slurs, let's kick 2016 off with some new music on lovely, lovely vinyl.

The Woodleigh Research Facility:The Phoenix Suburb (And Other Stories)

Andrew Weatherall is a luminary of the dance music world - primarily known as a techno artist, his musical output has actually been far more eclectic and harder to categorise than that tag suggests... in many ways he's been a driving force behind the emergence of a brand of dance music more etheral and considered than it's tub-thumping peers - a brand of music that has been awkwardly lumbered with the IDM tag, despite that being a shit name for anything. It's even being regularly confused with EDM, which is also a shit name but at least one satisfyingly appropriate.
So fuck calling it IDM, Mr Weatherall has basically taken the principles of techno and house and re-imagined a multi-decade catalogue of tracks using those and influences ranging from ambient to punk to whatever-the-hell-he-feels-like. An auteur, some would say.

For The Woodleigh Research Facility:The Phoenix Suburb (And Other Stories), he has continued a fruitful relationship with Nina Walsh, a singer he first encountered when remixing the Primal Scream track Original Sin carrying her vocal tones. Since then the pair have run techno labels, collaborated on various AW projects and presumably eaten some food in each other's vicinity. In addition, Nina has worked with vaunted underground artists including The Orb, runs a recording studio and her own label C-pij. 

The Woodleigh Research Facility:The Phoenix Suburb (And Other Stories) is a woozy, psychedelic affair with driving beats and a cacophony of drifting samples, gurgling, warped synths and analogous SFX that give the record a strangely morbid air, despite ostensibly beat-driven, uptempo arrangements.
It's a sound that captures the imagination - a properly experimental feel pervades and the confluence of styles embroil in a rather intriguing manner. Classic house open hats mix with Radiophonic swirls, new-wave drum machine sounds and minimal, dischordant synth lines to leave the listener in a state of pleasant befuddlement. It's no run-of-the-mill dance record, that's for sure.

There are a few tracks streamable from Rotters Golf Club's Soundcloud page. Release date is Friday 8th Jan.

Buy here

* We have no evidence to suggest Elastica have any coke, or have ever had any coke. Also cocaine is a highly unethical and overrated narcotic. We just like making cheap one-liners. No pun intended.

Wednesday, 23 December 2015

Cleveland Robinson - Xmas Time Is Here Again (Ewan Hoozami)

Xmas Time Is Here Again! Shameless Self-Promotion Time Is Also Here Again!

This is a potentially credible funky xmas track. You can download it for free. Don't say I never do anything for ya!

Thursday, 17 December 2015

Daedelus/Kneebody: Kneedelus & Romare - Projections (Ninja Tune)

Killing two Ninja Tune birds with one stone, we are. Talking like this, we are. Star Wars related topical appropriation, this is.

OK, I'll stop now.

I've grouped these releases together because, to me, they share some major similarities. That's not to diminish their originality in any way - both possess auteurship in abundance. It's more that they come from a similar place and arrive in the same ball park. Your girlfriend/Dad/Grandma would no doubt say 'it all sounds the same to me'. But they're a fucking idiot and only dragging you down.

One major difference is that only one is available on wax... Wail, lament and bemoan.

Daedelus & Kneebody: Kneedelus

Kneedelus, a collaboration between Brainfeeder's legendary hip-hop/beats pioneer Daedelus and instrumental quintet Kneebody came out 27th November - digital only, which is a wonderful thing and a missed opportunity all at once. The first tune to be leaked racked up 100,000 plays on Soundcloud in a few days so you'd have thought the appetite for a vinyl cut was there. Ninja seem to know what they're doing, though, so I'll leave it at that.

Format issues aside, the music itself is a fascinating concoction - shuffling, skittering beats that remind me of Blockhead, Charlie Mingus and Buddy Rich in equal parts. The jazz aesthetic is maintained throughout - this is less a collection of songs and more a procession of movements, with switching time signatures, pace and a Miles Davis-esque use of brass phrasing. Take the drums out and it could be a soundtrack to a gritty film noir about a beautiful barmaid who gets caught up in a Lynchian world of drugs, catwalks and a mysterious man in a raincoat inexplicably seducing her in a taxi.
Re-insert the drums and it's the kind of record you could stick on the turntable any given Sunday afternoon as a soundtrack to a Scrabble marathon or similarly sedate and elegant leisure pursuit. Only you couldn't, because it's not on fucking vinyl. Ninja Tune, please address this issue.

Buy it digitally here

Romare - Projections

'They' keep saying you can't sample any more. The lawyers will find you. They'll climb up the drainpipe in the dead of night, slithering, serpentine, through a crack in the window; reptillian eyes burning beneath scaled brow. As you sleep, blissfully unaware of the evil you've imbued through late night MPC sessions, the  Lawyers slip under your duvet, entangling you in slippery limbs to haul you down to the burning pits of Hell itself, chanting verses from the Necronomicon, or Copyright Law Regulations as earthly creatures know it. An eternity spent steaming the creases from Mick Jagger's puckered arsehole awaits any fool who dares lay claim to a fleeting slice of Copyrighted Material.

At the very least, no commercially lucrative label will touch you.

That's what they say. Only, the exceptions keep proving the rule.

We're not in the Wild West days of the 90s any longer, when artists could take whatever they wanted from any source without the concern of impending litigation. It's a more refined art, now, but sampling has not gone away.

Employing a cut n'paste technique that many could have assumed had gone the way of the baggy jean into cultural purgatory, Romare has managed to make a record that sounds familiar, brand new, ambient, uplifting and dancefloor friendly all at the same time. No mean feat and one which has seen him vault into the loving arms of one of the world's most famous independent labels.

There's a heavy blues element on display, from snippets of gospel and Americana to twanging guitar loops and drifting keys. At times the tracks are redolent of early Jel compositions, maybe a touch of Joey Beats, Cut Chemist and of course DJ Shadow. There are some ultra-modern flourishes to - the stripped back, trap-like instrumentation and poly-rhythmic percussion of tracks like the nina Simone-sampling Work Song. The LP closes with the appropriately titles La Petite Mort, a woozy ambience reminiscent of Air's French electronica and a title that translates as 'The Little Death'... Cut, pasted, filtered and looped, each record enshrined in Romare's Projections LP has suffered a little death, but the kiss of life comes in the reconstructed beauty of the composite parts. No Frankenstein's monster, Romare's patched-up doll is one of my records of 2015.

Buy it here

Wednesday, 16 December 2015

The Scribes - Mr Teatime and the end of the World (Reel Me Records)

“Greetings. My name is Mr Teatime. I am contacting you from the year 2074. The World is now a very different place. After the bomb dropped the robots took control. Please heed my warning.
I am so alone.”

Back in the days of yore, releases like this would have got a short run vinyl pressing, and, having achieved cult status 30 years on, original copies would fetch ludicrous sums, leading to a Record Store Day repress. This is 2015, though, and precious few labels can afford the risk of pressing to wax, even when the output deserves it.

The Scribes Mr Teatime and the end of the World is a staggeringly original work from my long time buddies. (Yes, I'm blogging things my mates have done. Fuck you, get your own blog!)
I've been lucky enough to share the stage with them on many occasions, filling in as scratch DJ and occasionally performing the tracks Shaun and I wrote for my last album (plug). Must be at least 7 years' of shows, on and off. In that time I've seen them develop immensely. They have always had a ridiculously infectious stage presence - something which has actively alienated them from the UK Hip-Hop scene at times, because, you know, you're meant to shuffle about like a paranoid recluse - but over the years their finished product has become ever more polished.
They've earned a rep for being 'the kind of hip-hop you'd like if you liked indie most of the time', which has opened up doors to less traditional audiences. That rep sounds like a back-handed compliment, and to hip-hop purists, it is... but it's really served them well, and given them the courage to push boundaries in terms of sound and lyrical content. There's always been a kind of mawkish malevolence about the lyrics and delivery, without ever going full-Necro, which marries nicely to bouncy beats that encourage dancing and a range of lyrical topics from monstrous fantasies to positive affirmations about the inherent beauty of life.

This release is, I suggest, a line in the sand. The same malevolence flows through each track, but gone is the almost histrionic delivery, replaced with a brooding, battle-scarred baritone... a grown up sound for a messed up world. It's basically Utopia: The Musical, or a 'hip-hopera' as the act have called it. In truth, concept albums don't always fare as well on record as they do on paper. This one fares better. The biggest triumph is that the sound wins over the concept. Crisp, deliberate beats punch through mechanical, retro basslines and glimmering, glitchy sound effects. It sounds like it comes from a dystopian future decimated by nuclear war, with only rudimentary tools and a battered MPC 2000 available to make music with. Which, when you've called your album Mr Teatime and the end of the World, must go down as a success. More than simply scoring a direct hit conceptually, the record's plaintive lament from 2074 has something to say to us in 2015... who hasn't watched the news over the last few years and not felt a creeping dread at the impending doom we seem to be accelerating towards?
This is the soundtrack to its aftermath.

Check out the stark new video

And buy the EP digitally here 

With a new album dropping in early 2016, it could be a big year for The Scribes!

Jackson - Rain/Change

We aren't just about the vinyl at CMFCP... We also reserve the right to champion pieces of inspired, curious music for all you curious people. Whatever the medium. Particularly when it's your mate what wrote it.

Jack Baldus is a bit of an unsung hero on the Bristol scene, but I'm pleased to see him being a bit more, er, sung, recently. Having gained acclaim as the eye-catchingly prodigious keyboardist in Laid Blak, he's been ploughing his own furrow for a while, even featuring on my last album Robot Soul (and some tracks on my next one!). The most polished and cohesive of these furrows is his new band Jackson. The debut EP was produced by none other than Full Cyclist and all round bristol leg-end DJ Die, and comprises 8 outstanding musicians, conducted by the man like Jack. Kind of like Sun-Ra's Arkestra without all the illegitimate children and cosmic flim-flamming. Musically, however, there are definite similarities to the cosmic jazz-tronaut. It's pleasingly reminiscent of Chick Corea, Sun Ra, Jaco Pistorius and Stanley Clarke... intricate, full of texture and displaying virtuoso levels of songwriting and performance.

But don't take my word for it - check out Jackson's first two videos below - recorded live at Factory Studios, Bristol

Tuesday, 15 December 2015

Macka B - Never Played a 45

Macka B has a not-so-subtle message for DJs across the land... and we agree with his sentiments!

It's not about lambasting people for their choice of medium, we just agree that the feeling of manipulating wax is a crucial part of the true pleasure of DJing. The video's cool too.

In all seriousness, while we play strictly vinyl at our DJ sets, I personally play off Serato a lot of the time when performing as Ewan Hoozami and love the fact I can use cue points for live editing, dub effects, beat-rolls and so on, plus I can play my own tracks without getting them cut to wax. I often get people coming up to me when I'm playing vinyl saying 'ah nice to see someone DJing properly, none of this laptop shit'. Equally, I get people cussing me when I'm on Serato for 'cheating'. 
Well, here's a newsflash for anyone that thinks like that - you're plain wrong. 
DJing with vinyl and DJing digitally are, to me, as different as playing electric or acoustic guitar... the basic principles are the same, but the style, sound and vibe you achieve are totally different. Neither is 'right' or 'wrong' - however I would argue that DJs that have never used vinyl are missing a crucial part of their education.
It's refreshing to see Macka B avoid the traditional 'old school' stance - the heads often take up a tribal stance of 'vinyl is the only true form of DJing' - and acknowledge the role of digital in today's DJ culture.
But if you are a DJ who's never played a 45, we think you'll fall in love with the wax if you give it a shot.

Thursday, 10 December 2015

Feature - Cultures of Soul Records

I'm delighted to have grabbed a few words with Deano Sounds, head honcho at one of my favourite repress labels, Cultures of Soul. CoS seek out fantasticmusic from across the world that always manages to be both unusual and yet dancefloor-friendly. I don't think I've played a vinyl set in the last few years that hasn't included at least one CoS record!

 OK let's start with the basics... I note from your website that you started in 2008, born out of a radio show on Viva Radio, but there's obviously a lot of behind the scenes action required to turn that idea into reality. Did you have any prior experience? And what can you tell us about the first steps of the Cultures of Soul imprint? 
I was DJing and collecting records and had also wanted to start a music label at some point.   I guess the first steps would be that my friend had some contact info for Bili Sparrow who turned out to be our first release. And then it went on from there.


What's the line up at CoS? 
We've got two ambitious projects coming out now and coming out soon. First a box set of 7 x 7inches of Brazilian Funk and Soul and then out in January the Boston Creative Jazz Scene which is an album compilation with an 80 page book about the underground Jazz scene in Boston in the 70s..

How many releases have you out out so far?  
Too many to count! 

Do you try and do a certain number a year, or is it more a case of 'it's ready when it's ready? 
It's really a case of when releases are ready. There's really no master marketing plan other than to put out the most interesting high quality product that we can.

You've developed a reputation as a purveyor of a more international brand of funk, soul, disco and jazz... you've unearthed some astonishing music from Bollywood, Brazil and the Caribbean, to name but a few unusual sources. How do you find the music, and what criteria do you use to choose which tracks to release? 
I usually start a project by looking for interesting music or an interesting theme and then I try to fill the compilation with the best material that fits together in that particular cultural lens. 

I think our readers would be interested in the process of getting a record out on your business model... talk us through the basic process, from sourcing and selecting tracks to designing and distributing. 
That is quite a long answer and one I feel your readers might finding boring. It's like sauuges the process is not pretty and sometimes you don't want to know what you have to go through to get to the other end!

You're clearly a busy working DJ in your own right - has the label opened doors for you to perform at more illustrious or far-flung venues? 
It has to a certain extent. It's still tough to find great venues willing to host DJings playing eclectic vintage music. But I did recently play a gig at a night in Montreal called the Goods that was amazing!

There's an evident growth in the reissues vinyl market - do you see that as a positive thing? Have you worked with any other labels or collaborated with any? Do you find there's a sense of community between independent reissue labels? 
Well it's great that the younger generation is buying vinyl. The only problem is in my opinion so much wasted vinyl releases are coming out i.e. dollar bin fodder like Fleetwood Mac - Rumors type stuff. I don't believe in pressing vinyl in massive quantities or unneccesarily.I worked with Frank Gossner Voodoo Funk. I think there is definitely a community among the older more established reissues like Numero, Strut, and Soul Jazz. Those are the labels we look up to.

What are the future plans for Cultures of Soul? 
We're actually working with a lot of interesting remixers and producers at the moment including Ruf Dug, Africaine 808, Alma Negra, and Names You Can Trust on a project of unreleased material from the leader of the Kelenkye Band - Jagger Botchway. And I'm also working with Rahaan and Gerd Janson on a few companion 12"s to go with some of our upcoming compilations.
We're putting out a compilation of rare Gospel Disco compiled by Greg Belson and a compilation of South African Disco/Boogie as well as the unreleased material from Jagger Botchway with the remixes. And also some new music produced in 2015 so stay tuned!

BBE Music - Free Shipping globally until this weekend!

We thought you'd like to know that one of the UK's very finest record labels, BBE, have announced an offer of Free Shipping on all orders until this weekend. Nice! Just go here and treat your loved ones to a nice xmas present (or just treat yourself)

Always championing great contemporary beat-based music and with an impressive array of represses and re-issues, you're bound to find something you dig.

Thursday, 3 December 2015

Our band has released a Charity single for the MS Society's Christmas Appeal!

Seasons like this need a hero... and when MRSL-01 receives the call, there's only one thing to do. The Mind-Reading Space Lasers spring into action, chasing Santa across the galaxy in a desperate bid to save Christmas and restore the cosmic balance... but who will prevail?

A bonkers video, a famous family, a noble cause, a mission to save Christmas from an intergalactic Santa Claus and… a Bob Geldof cover. That’s what The Mind-Reading Space Lasers, AKA Daniel and Adam Hignell, have in store this Christmas. 

The Brighton-based brothers have applied their analogue space-pop sound to one of the most iconic Christmas songs of all time... It's Band Aid, but turned up to 11, and wearing spandex leggings. 

They are aiming to raise money for The MS Society - a charity doing important research into curing and treating Multiple Sclerosis, a neurological disease which their father, ex-England rugby player and BBC broadcaster Alastair Hignell, was diagnosed with some 15 years ago 

So don your space-suit, dip into your pockets, engage warp drive and help the Mind-Reading Space Lasers can save Xmas! 

Made with a budget of £125, the video mimics the classic B-Movie’s of the 80’s, lovingly recreating the Betamax cassettes of that bygone era, dodgy tracking and all. The song is performed, written and arranged by the Mind-Reading Space Lasers, with special thanks to the ‘Space Cadets' - Jeannie and Alastair Hignell, Lucy Finchett-Maddock, John Guzek and Layla Hignell-Tully.
You can buy the single for £1, or donate more if you feel like it (its for a good cause after all!)

All proceeds go to The MS Society Christmas Appeal. The funds will be invested in Myelin Research,which could one day lead to a cure for this cruel, degenerative condition. Registered charity nos. 1139257 / SC041990.

How to support:
1) BUY THE TRACK HERE! ALL PROCEEDS GO TO THE MS SOCIETY CHRISTMAS APPEAL! https://themindreadingspacelasers.ban... 
YOU DO NOT NEED A PAYPAL ACCOUNT - JUST CLICK 'I Do Not Have a Paypal Account' and you can pay with credit/debit card

Santa's gone bad! Instead of delivering presents, he's turning everything in the Cosmos into holograms, leaving a trail of festive destruction in his wake! Can anyone stop him? Does anybody care? Do they know it's Christmas time in space?