Reviews: 171

Sebastien Bouchet
Sailor EP
Omnidisc Swim Series

Label head Danny Daze begins the Omnidisc Swim Series with this release from amazing French producer, Sebastien Bouchet. And happy to say it’s rather excellent. Take ‘Sailor’ which begins the EP in earnest with the sort of unfussy groove that proves to be hyper funky as uncomplicated, sassy percussion and bass notes produce magic in succession. Next, Jeff Goes Riot again hits you with heavy-duty basslines this time over nagging synth lines as ice-cool vocals feed off occasional warm chords. Etna, then feels fused with electricity as soaring synthesizers prove bright and seductively breezy over commanding electro beats. The atmospherically charged Pacific Seb ends on moodier notes which are by no means any less rewarding on what has to be said again is an excellent EP. Next please.

Zombie Zombie
Slow Futur

By way of an explanation: ‘Slow Futur features two jugglers (Elsa Guérin and Martin Palisse) on a treadmill (8 x 2m) which carries them along a neon light installation which delimits the choreographic space as a kind of space-time tunnel: the hyperspace.’ Lifted from the performance of the same name are these four tracks from Zombie Zombie aka Cosmic Neman, Etienne Jaumet, Dr Schonberg which not only highlights the labels inquisitive nature but also the musician’s creative impulses. Hyperespace, starts the exploration with organic feeling machines producing an enthralling blur of sounds accompanied by the demanding beat of drums. The excellent, futuristic strains of Extra Life proceed via pumped-up rhythms next, while the title track then eases down into a different trance. Finally, the brilliant Blue Screen ventures into ambient territory albeit a darker one with haunting sights and sounds completing a great release.

Release: Vinyl & CD April. Digital May 2016

“Slow futur” – Version courte from CIRQUE BANG BANG on Vimeo.

All By Mouth
20/20 Vision

Richard Burkinshaw and Jamies Rial aka Audiojack deliver this creatively intense set of three productions for their long standing residence at 2020. Which thankfully for us sees the duo in a more playful mood with the mind expanding Fluent opening proceedings via a pulsating, uber-cool funkiness which is not only thinking forward but very definitely hypnotic in the process. Stutter, then tears at the envelope with more energy injected into its insistent hi-hats, accompanying syncopated bassline plus off the wall vocal edits. Leaving the aptly titled Vowels to continue the theme by twisted the French language around darker flavoured drums and their sparse arrangement to produce yet another intriguing sequence of ideas.

Release: May 9


Reviews: 169

Igor Jadranin
Boulevardd EP
Back To The World

Boulevardd induces the type of sizzling energy not quite heard since the electrifying days of DJ Pierre’s extended creations. Caustic, distorted snare beats feel fierce in amongst the general dirty goings on but this also points toward a jazzy sensibility that makes perfect sense once the rousing piano drops in. When you think about – and after all that’s what we should like to do – this is a clever production that all at once sounds future / retro. Middle Proves continues the jazz/ funk theme via meandering synthesisers and tasty drum programming, while Ashley Beedle’s North Street Mix lays down a much sassier interpretation smartly primed for hot summer nights ahead. Finally, the covers blown to reveal a pure roots version of the music complete with smooth trumpet, piano and awkward rhythms on Hero.

Afternoon Sadness
Mother Recordings

A seriously excellent piece of music by Ecuadorian producer/ DJ Ordonez which hits all sorts of the right notes in the right order. It’s tinged with hints of sadness but as with so much melancholy music it succeeds in producing uplifting feelings as well. Another release that’s certain for the summer ahead with its Balearic leanings, poignant guitar strums and delicate piano’s all capped off by smouldering vocals. Picture perfect. Next, Back Home picks up the pace with a funkier line in Horns and shuffling drum rhythms completing another killer outing from Mother.


Reviews: 168

Robsoul Recordings

This is so irresistibly infectious and that’s all the justification required here.  The title track’s taught rhythms almost play second fiddle to the punchy piano lines which pack even more swing than most. But then this does all work together so sweetly. Voodoo Effect provide a more robust version leaving the keys alone but adding some imaginative extras into the arrangement. Next, there’s the 90’s flavoured Dub which is due to its punchy, although fimilair sounding organ lines. Second track, Damnson is much grittier combining layers of agitated grooves together to produce the desired effect to complete the release.

release date April 15th,

PACK SHOT Black Sonix - Black Arts Vol 2 - TRIBE TraxBlack Sonix
Black Arts Vol.2

Yet another hot release from the Tribe Records sub imprint this time with Black Sonix delivering three smoking rhythms for your delight. The grainy ‘Incidental’ opens with perfectly timed, classic sounding Deep House and is followed with the Detroit tones of 24 Steps which sizzle across strident beats. However, it’s the thumping tribal rhythms which belong to Djembe Dance that truly stand out. Fuelling passionate drums along with cool chords and snazzy snares this is the sort of soulfully charged music you don’t get to hear quite so much of now (accompanied by a fierce Beats version too).

Release: April 8

original_imageDaniel Lera
Have To Talk Tonight EP

I’d almost forgotten just how much I love Congo’s and Bongo’s but this set of three tracks from Daniel Lera supplies a choice reminder on Nicole Moudaber’s imprint. Driven by rolling grooves alongside shuffling shakers and hats plus occasionally hot R&B vocals: Have To Talk Tonight delivers atmospherically charged funk impressively. Followed by, Babbling In Dreaminess lending a tougher edge to proceedings with the more highly-strung ‘Let It Ride’ ending with yet more percussion informing the rhythms amid temptingly smoky voices.

Release: April 25

WebCompassion Crew presents
Compassion Cuts, Tapes & Acetates
Major Problems

Pretty much essential listening. This wild yet crazy compilation of the weird, wonderful and generally out-there could be the most intriguing selection of disjointed thinking you get to hear all month – or possibly even year. Complied via Dublin’s Compassion Crew this plunges into the depths of 80’s leftfield Dance, New Wave and risky poetry. But all preformed in the best possible taste. Go listen for yourself!


David Marston Q&A

davidTell us about the expression ‘Kindness of Bearer’ which is also the title of your stunning new EP for Soul Clap Records?

The tradition of “Kindness of Bearer” letters originated at the Quaker boarding school in Pennsylvania that I attended. “KOB’s,” as they are fondly known, are special messages written on pieces of paper and then folded into small square packages for delivery. The messages are entrusted to a designated courier who takes the note to the intended recipient(s).

For a long time I thought that this concept would be a cool and fitting representation of the relationship between musician, record label (or any musical outlet), and the general public. The tradition is a culture of meaningful communication and exchange, and that’s what I think artists and labels should try to achieve with their listener base.
(Photo by Simon Benjamin)

How did you first hook-up with Soul Clap and can you tell us about your relationship with them?

In my final year of University I was trying to figure out what to do with all the music I had made. At that point, I had already been producing for a while and I took the bold step of sending Soul Clap an email. I wasn’t really expecting a response, but within a couple of days Eli responded saying that he liked the music I had sent, and he asked me to send him more material.

My relationship with the Soul Clap boys is good. I am a young, developing artist, and – as they have been in the game for a while – I have a lot I can learn from them. I really appreciate their advice and mentorship.

Buy the EP

Each of the four tracks EP reflects different styles and influences. How important is that to you, and do you feel Dance music can be too restrictive these days?

I appreciate and enjoy listening to many different genres of music. I like to produce music that combines and merges my various influences. Sometimes this process is deliberate, but a lot of the time it just occurs naturally.

In regard to the tracks that appear on the EP, the music inevitably reflects an array of sonic influences, because I worked with several different artists and each person brings his or her own artistic sensibilities and idiosyncrasies to the table.

I sometimes find that Dance music can be restrictive, especially when you have to think about making money and about people’s expectations for the music that you make. There can be pressure to conform, to sound a certain way. But each artist has agency, and one can choose whether or not to give into the pressure and how to negotiate one’s own relationship with the status quo.

David Marston & Anna Spackman – Sun
Directed by Simon Benjamin.

How do you feel about the importance of songs in Dance Music compared with the past?

I think songs from any genre or period can be important and influential.

Can you describe where the inspiration came from, and talk us through how you produced one of the tracks from the EP?

The inspiration for the EP came from the collaborations I had been working on with friends. The songs sound quite different from one another, but the commonality between all of them lies in the fact that they are, in my opinion, compelling products of team work.

The story behind “Sometimes It’s Hard” is somewhat interesting. This track actually started out as a fairly typical 120 bpm house track. My friend Brigitte Zozula sent me some vocals that she had recorded on her phone and I started to build instrumentation around her recording. Eventually, I got stuck and found it difficult to elaborate on the ideas I had laid down. I think I hit a bit of a creative barrier by working in the framework of the “Club banger”. The breakthrough came when I slowed the track down to 92 bpm. Soon enough ideas started to flow again. From a psychological standpoint, I think I felt that I had more space and time to be creative in order to finish the song.

Do politics and music mix? What are your feeling on the upcoming American Election?

I think so. Music, like all other art forms, is an expression of ideas. These ideas can relate or pertain to any human construct, including politics. I think music is a powerful and important medium through which people can communicate and engage in political dialogue. I have a great deal of admiration for artists who encourage critical thinking and who push to promote positive social change, even if doing so could be damaging to their careers or to their reputations.

I really hope that Bernie Sanders will become the next President of the United States. In my opinion, he’s the best candidate for the role, as he seems to genuinely care about ordinary, working class people. I think it is extremely encouraging that his progressive message has resonated greatly with so many people.

What is your favorite musical instrument, and do you own one?

guitarThat’s easy – the guitar. hands down.
And, yes, I own a couple.

What are your plans for 2016?

I’m going to be doing a few gigs around the time of the release of my EP in late March/early April. I’m also going to be doing a bunch of shows with my label mate, Nick Monaco. I’m playing guitar and doing some programming for his new live set, which we have been developing together over the past month. I am looking forward to 2016 as it should be very exciting year!


Ryan Crosson Q&A

Ryan Crosson 3 B+WWhich artist attracted you to electronic music in the first place, and who would you say is your biggest influence currently?

Hawtin from the beginning was huge for me and we were all/still are pretty big Perlon/Zip/Ricardo fans.  Unfortunately I don’t get to see Zip play much any more but I always take a lot from his DJ sets.  He’s definitely my favorite for a few years now, but Hawtin dominated my early interest in electronic music.  From a studio perspective, these days I get a lot from working with Cesar (Merveille).  He’s really geeky when it comes to his gear and technology and has less regimented way of working than I do.  Every time we go into a session we have a nice back and forth and helps us to understand different ways of working together and I can take certain points and apply them to what I do later on by myself.  Sort of like little reminders or tricks to fill out a track more.

Listening back to the excellent DRM (produced with Cesar Merveille) it’s striking the breadth of styles, moods and tempo’s that you engage. Do you find you are as free to do so when DJ’ing – how do you think that people’s appreciation of difference has developed in the past number of years?

Sometimes I feel I can wander around wherever I want when the crowd is up for it, it depends from night to night.  This happened most recently at Stereo in Montreal.  Peoples appreciation of difference could have to do with the age of people in attendance.  When i was younger I didn’t really listen to the same type of music I listen to now and I would think that it would be a similar situation with other people.  Also I feel more venues are starting to cultivate crowds or scenes that dealt with a bit left of center type of club music, which is fantastic.  It used to be the weird records only come out at after hours and now in certain places it’s encourage during peak time.  I think that’s fantastic.

Can you tell us about your next album collaboration with Cesar Merveille? And how would you contrast working with musical instruments and electronics?

We’re trying to take what we did on the first album and go further.  I don’t want to say it’s darker than the first album but there is a mood change.  On “DRM” we used a lot of instrument samples, recorded a few vocals and had maybe one session player recording. The new album we’re recording much more in terms of different session musicians, different instruments.  It feels like there are a lot more layers in every track and the atmosphere is thicker. Also we’ve added the modular synth elements.  Cesar has gotten pretty deep on modular stuff since the first album and I am learning more and more each day.  The modular elements have added a specific character that was not present on the first album and have helped to blend electronic sound with traditional instruments even more effectively.

Has moving back to America (Brooklyn, New York) given you fresh inspiration? How is life in New York?

New York has been a great change. Its weird because I can’t imagine living anywhere else in this moment.  It reminds you to move your ass every day which I think is great for me.  I want to expand with some releases outside of Visionquest and possibly start a new alias project, so the city provides constant motivation to bring these ideas into reality.  And then there’s the food in New York.  Pretty surprised I haven’t had a massive weight gain because of all the temptation.

stentor-studentDo you have a favourite instrument, and do you own one?

Tough to say.  Right now double bass.  I don’t own one unfortunately.

How would you describe your working day, and the creative process?

Wake up, do label and agent emails because most people I work with are in Europe.  Then step out of the house to run any errands or go to get groceries, then back. Eat and start in the studio.  If I’m not wrapping something I’ve already started, I’ll pick a piece of equipment and start playing around with it.  Sometimes that means a bass sound or a rough bass line I play on keys.  Then record that into midi and build around it.  Some times I make a complete ambient track, then add some drums and it becomes something else.  It’s always different.  I want to start sampling older classical or jazz records now that my setup is sorted in my new home so that could put a twist on things in the months to come.

Visionquest LogoCan you tell us about the plans for the forthcoming 5 Years of Visionquest tour?

We’re not doing a tour or calling the collective dates a tour.  We plan to celebrate only with certain promoters who we have remained close with over the years, that have stuck by us from the very beginning and to incorporate other artists and friends who have done the same.  The event we have lined up for June in New York could be one of the highlights of my year.

What else do you have planned for 2016?

Lots of releases if the timing goes to plan (which rarely happens).  Whether it be remixes, EPs or the album,  EPs for MDRNTY and Visionquest are in the bag. Ces and I will hopefully put the album out in early fall.  I did a collab with Livio & Roby for their upcoming album on Desolat.  I also want to start working on a live set with Cesar after the album is complete.



Girls in Uniform

How could you not love this. Yes it’s about ‘Girls in Uniform’ but please put that preconception down and enjoy what is a playfully amusing lyric, although pitched over spikey, punk attitude that sees racing beats fight against punchy guitar and bass to produce a gloriously edgy, yet exhilarating experience. By the way Aladdin are the sum total of Nicolas Ker (singer, chaotic poet) and label boos Gilbert Cohen. The excellent Gilb’R then delivers a smoky Dub version that at once commands your stereo with its array of death defying weirdness that plunge the depths of cool. Followed by Trevor Jackson’s downbeat exploration into further dub excursions into intensity which also proves to be deliciously dangerous and rather f**king fantastic.

Marc Romboy
Counting Comets
Bedrock Records

Returning with this exceptional remix care of Watergate resident Rüede Hagelstein, ‘Counting Comets’ is now injecting with a new lease of life for 2016. A tastefully crafted production that is driven by addictive syncopation accompanied by somewhat sassy percussion and contrasted by ethereal synthesizers which ultimately climax into a thing of darker beauty. And I’m glad it’s almost ten minutes long. Equally stunning is Marc Romboy’s own captivating beat-less Part 2 version which is cut through with a shining ambience that doesn’t require words, while also playing out across ten perfectly timed minutes.

Release: March 9

The Orb

Suggesting something of a theme this week (in parts) is this latest from seemingly ever present The Orb. Masters of their own landscape ‘Alpine’ doesn’t disappoint either via its lush textures spilt into three sections. ‘Morning’ favours a sleepy evolution of sounds that combine the surreal and wonderful, while ‘Evening’ not surprisingly adds the pulse of four/ four beats to its looped equation of rhythms. ‘Dawn’ then returns to an evocative, haunting bliss via a reworking of the previous ‘Morning’.

 Alex Under
Olas De Quila Quina

Three new tracks go to make up this debut release on KOMPAKT from Alex Under. Beginning with the title track, ‘Olas De Quila Quina’ which delivers waves of pulsating bass notes together with tripped-out vocal effects and swirling reverberations that become all the more impressive once the beat drops, causing all sorts of high-level impact. In a word, spectacular. Next, ‘El Reflejo Del Lacar’ hits the Techno button, leaving the cool melodies plus funk-infused bassline of the excellent ‘Lolog’ to complete.

Release: March 11


Ashley Beedle Q&A

ashleyHow’s life beside the sea in Ramsgate? What music provides the most apt soundtrack on a blue-sky day (or night)?

Life beside the sea is tranquil and fantastic. I’m surrounded by like minded musical types who are also enjoying the benefits of living by the sea. Neighbours include Adamski, Congo Natty, Adrian Sherwood, Taz, Bam from the Jungle Brothers, Clem Bushay to name but a few.
My soundtrack at the moment is all the music that I’m working on for my label, Back To The World plus my every expanding reggae collection.  My most recent purchase was Owen Gray’s ‘Free Up Jah Jah Children’

You started your own label: Back To The World Records in 2014. How did you find that process and how is the label going in 2016?

It was quite simple really – it all started in Adamski’s kitchen.  My partner, Jo, chose the name (from a tattoo on my arm!) and Richard Epps created the label artwork from a wonky sketch. Things snowballed from there with the first release from Fleas on Skis (Adamski) and further releases from Crazy Godz (me and Darren Morris) and a joint venture with Earl Zinger called ‘Ghostdancers’ !! In 2016, the current release, ‘Tell Me’ by Waterson, has taken off and all mixes are being hammered worldwide .  Big tings are happening.  Then I’m working on Waterson’s next EP and LP with some remixers including Black Science Orchestra (yes, we’ve reformed), the incredible ‘Boulevardd’ EP from Serbian DJ/producer Igor Jadranin plus my own album ‘Africanz on Marz’. This has been worked on in conjunction with Darren Morris, my musical partner, and Kurt Wagner from Lambchop and Cosmo from Classic Album Sundays on narration duties. So, busy and musically fruitful.

The latest release is the infectious ‘Tell Me’ by Waterson, which also features remixes by yourself. Can you talk us through how you approached the remix?

I wanted to achieve a classic Frankie Knuckles sound which I felt leant itself to Waterson’s vocal. I always start from the drums upwards when I do a mix and then Darren Morris adds the bass and keyboards.  The process for this doesn’t take too long but it’s the fine tuning of the mix which is where we take the most care and apply the most love.


Do you have a favourite instrument and or piece of hardware that you like to use in production, and why?

I like to use ‘Maschine’ because for me, this is an update on the MPC drum program.  Also, live ‘shakers’, handclaps and Darren’s extensive and beautiful keyboard skills. You can never have enough Rhodes…..

ashley2 Do you think Dance Music is in a healthy place in 2016 in terms of clubs, festivals (overground/ underground) and the digital world?

Dance music is a very broad spectrum so I’ll narrow it down to House music. With producer/DJs like LayFar, Martin Atjazz, Disclosure, Claptone, Moon Boots, Kenny Dope, KDA, Detroit Swindle – it’s in a pretty healthy state.  Festivals? Plenty of them that cater for all tastes seem to be springing up all over the place plus the established ones like Electric Elephant, Festival #6, Latitude etc.  Night clubs/venues – globally, things seem to be on the up. At any of the venues that I’ve played, the crowd always seems informed and into the tunes – sometimes more ahead of the game than the DJs 😉

Historically, was House the last great youth movement that will happen in the UK – does it matter?

Every generation has their youth movement – Mods with Soul and Ska, hippies with Prog and Psyche, Northern Soul, Soulboy Tribes, Punk, New Romantics, Hip Hop…..House was massive and made a deep impact on our culture, not just here but worldwide. But, those callous youths have grown up and their grandchildren are listening to Grime and Trap – HUGE scene. Does it matter – not really – just listen to the music…..

What plans do you have for the label?

More collaborations with remixers, finding new DJ/producers as well as showcasing established artists. Licensing tracks for comps and synching music for films.

Where can people hear you DJ in the coming months?

Best thing to do is to follow me on Twitter @theashleybeedle. I update the account daily with any info on gigs and latest releases from Back To The World and anything that interests me.


Lorenzo Dada Q&A

lorenzoYour new single for Culprit: Love Apparel is a stunning piece of music. Can you talk us through how it was conceived and then produced?

“Love Apparel” was originally only a romantic instrumental piano piece and over the course of a year I slowly developed it into an electronic music piece. Working in my studio in Rome, I first started on a melody that combined both the original piano piece and new electronic instruments. I then worked the vocals in to make sure they harmonized and created an even grander melody. After I felt the melody and vocals went well, I added in the baseline and rhythmics. It took about a year of changes and development until I felt it was fully completed.

Can you tell us about your background and how you first got into Dance music – which DJ’s had the biggest impact on you?

I grew up with parents who are both in the music industry and with their influence I was always surrounded by the music culture. My father is an established composer, conductor, and pianist,  while my mother is a singer and owner of the Yamaha Music School in Rome. My first piano lessons were at the age of 4 and I was accepted into the Conservatory at the age of 11. In my teen years is when I first started listening to artists like Aphex Twin and Radiohead, which later produced my interest for composing electronic music.

You were originally trained as a Classical pianist at the Conservatory of Saint Cecilia in Rome. What was that process like, and how do you feel about the standard of musicianship in electronic music today?

When I started at the Conservatory it was very different then it is today. You had to be accepted and it was very difficult to get in. Fortunately I was accepted and started my 10 year program in Piano, Harmony, and Composition. The lessons are built around 3 exams where I would have to study and prepare around 40-50 pieces of music for each exam. The pieces were mainly classical music, such as the Studies on Chopin’s Etudes, Debussy, J.S. Bach, Schumann, Rubenstein and many others.
Today, the standard of musicianship in electronic music is very low because of how easy it is to make with all of the technology. My training is technically for composing classical or symphony pieces. There are just so many producers today that only a few probably come from backgrounds where they actually went and studied how to compose music. This is the main reason I like to include many acoustic instruments when I am producing electronic music or even when I get the chance to play Live using a Grand Piano.  I think it sets me apart.

The vocals work particularly well in your music, adding a sense of poignancy. Where do you find the inspiration for the words?

CP060_artworkThis has actually always been a struggle for me as English is not my first language. In the past few years, I have studied and worked with many singers who have taught me a lot in writing lyrics and working with vocal harmony. For “Love Apparel”, it was an experiment trying to use what I know of composing, harmony and mood of the song into lyrics that would go together. The inspiration was truly just words I knew at the time that reminded me of the sounds I was putting into the song.

How would you describe your set-up playing live/ DJ’ing to people? And how do you compare playing on an acoustic instrument with the possibilities that electronics can afford you?

Well, I definitely have many different set-ups depending where I play, the space, the people, and the mood. I love playing live because it allows me to perform in front of people. I have done a couple of events where I played Grand Piano mixing in electronic sounds with Ableton, a MicroKorg XL, and a Roland Tr-8. If allowed, while traveling, my live sets always consists of these but I will substitute one of my keyboards for the Grand Piano. Each live set, I prepare new unreleased music that is created just for that show. For DJ Sets I try to stick to using a lot of Vinyl. Growing up in Italy and even for my residency at Goa that is what we all learn to DJ on and it holds more respect here as an art-form.

Tell us about your residency at Goa Club in Rome?

12642683_904210636360036_4061784672113783182_nThis is the second year I have held a residency at GOA Club, where I work with their GOA Ultrabeat night as well as GOA Nozoo. For GOA Ultrabeat, I mainly open with a Live Set for their huge events like Cocoon Rome and Music On. I’ve recently worked a lot with GOA Nozoo not only as a resident but also adding events like a No.19 Music Night and a Culprit Sessions in Rome.

What plans do you have for 2016?

For 2016, I have plans to be in the studio a lot, as well as playing a few important shows around Europe and then heading to America in July and August for a small tour. At the end of this month, I am actually heading to Toronto to meet up with Nitin, one of the heads of No. 19 to spend a week in the studio to finish up an EP.



Freddy Bastone Q&A

freddy 2Where did it all begin for you, how did you first get into music in general and then Dance music?

It all began , when it all began for me really. My father was a jazz musician (drummer + resteranture (patsy’s Bx.) and my mother brought me to my 1st concerts when I was 8yrs.old. I always felt that all the music I listened to as a young teenager (Queen, Bowie, zip eat..) was dance music to me. But if u r asking when I 1st started Dj’ing, that would be my freshman yr. in high school. When I put my Flying V down for my first 2 Turntables.

What are your favourite memories of your residency at Danceteria?

Wow, there r so many flashes that go through my mind. Ok, my first night was actually Dianne Brills’ bday (which happened to be my bday), any weekend on the 2nd floor, there was truly a magic about that floor. 3rd doing the residency at the Danceteria in South Hampton was honor as John and Rudolf literally brought downtown to Sag Harbor.

Can you tell us about who you got introduced to mixing records together?

A school mate (Marcus Quinones) turned me on to turntables on Jackson Ave. in the BX. We both got schooled by listening to Jim Burgess, Ted Currier and going to The Townhouse, Infinities and the Garage.

You were also head of A&R at Emergency Records in the eighties? Which records were you particularity proud of signing to the label?

Yes, I worked under Sergio Cossa + Curtis Urbina. Tracks I was particularly proud of were usually tracks I also mixed (Blaze, Raww, Taffy, Carolyn Harding)

You next held a residency for 6 years at the Palladium for Steve Rubell. What he like to work for? And can you tell us about the music you played at the club?

Being that I had the longest residency at The Palladium, I would say I had a very good relationship. Also Rudolf and David Miskit had a lot to to do with that. Steve trusted in me to play to any crowd he threw at me. He only had one request every night I played and it was always about 3 am in the morn when he would ask to hear Diana Ross. Any Diana.

Your Corporation Of One ‘The Real Life’ was a massive club hit in the UK. What are your memories of producing it?

My memories of that r very vivid as I blocked out studio time at unique (midnight to 8am), cheaper and my engineer/ programmer never showed and I had to take a swing at it. I believe that’s y its such a DJ treasure. It’s funny all the tracks that put me in that situation always turned out to be very DJ friendly.

Tell us about No Filtr LTD?

Nofiltr is a bel/film/doc comp. We r releasing new singles in this coming month. The key to the music is we want people to think as well as dance. We won’t be dropping tracks that r poppin bottles or having a party. We r currently working on a doc “no filtr’s find a groove”. Its a series.

What are you currently working on, and what are your plans for 2018?

Just finished Bowie rxmx tribute EP, no filtr just released All Knight Kemist, a plethora of tracks coming out in spring. The Doc should keep me very bizzy. Also there’s always acting gigs (fingers crossed).



Reviews: 166

carlos-menaCarlos Mena
Deep Forever More
Yoruba Records

Three brand new tracks adore this latest release from Carlos Mena and as you might well expect they combine the words: deep, pounding yet evocative House music. The release opens with the self-explanatory Bang It which has Osunlade intone its title until you well and truly receive the message. Musically its edgy fusion of scratchy beats plus pulsating stabs that will see this placed firmly on the dancefloor, and is accompanied by an instrumental should you so desire. Elegba then explores tribal percussion, expressive chords/ vocals and even fretless bass, while Deep Forever More returns to a clash of more challenging electronics alongside a spoken message that resonates in timeless fashion.

Release: February 8 2016.

Illusion EP

This EP’s title is tailor made for those who like it deep, tough and forward-thinking. Indeed the title track: Illusion is quite something, verging on excellence. Driven by a rich amalgamation of dark, brooding beats, probing bass and a smouldering vocal that cuts to the chase this first-rate arrangement of imaginative sounds stamps Tribal, House and even Techno boxes. Complimented neatly by the Everything version, and then by the contrasting fizzy electronics of Wolves this proves to be yet another notable release from Kittball.

Release: Beatport February 23

Two Diggers PicTwo Diggers feat James Dexter
Fatback EP

Another intriguing production to bring to your attention is this three track release on James Dexter’s relatively new Inermu imprint. Opening via the smoky Disco flavours of Fatback which blends sampled subtlety just as much as it does pounding beats, there is something just that bit different, more creative going on here. The even friskier Queen then sets pulses racing with deeper repeating intensity, while the final number To The Blues may well hint at their influences and features another fiery bassline amid a frenzy of drums and voices (assisted this time by James Dexter).

Release: March 14