Towards Green
Last Page EP
Buzzin Fly Records

I did think of Durutti Column when I first heard Rivero Brito’s sensitively plucked guitar streaming through stereo and that’s of course a most welcoming experience. But, it’s also equally refreshing not to plant thoughts in your mind as this EP conjures up all sorts of people you could reference, despite the music having a life very much of its own. After experiencing the rather beautiful title track, the even more so, Keep Your Eyes Closed defies logic with uber-cool Double Bass and fizzy electronics blending together impressively with thought-enhancing arrangements and subtleties. The Arkist Remix adds beats, though cleverly doesn’t lose the charm, on an excellent version that can only come highly recommended. The Live Take of Last Page then finishes off with what must have put a rather large smile on Ben Watts face… 9

release: April 16


Boris Dlugosch
Keep Pushing
Peppermint Jam

Fresh remixes of Boris Dlugosch’s biggie from the mid nineties sees Inaya Day’s vocals revitalised once again, and this time round over equally contemporary versions. Firstly from the excellent Joel Alter who swings delicious bass off hissing hi-hats and funky organ, while utilising snippets of appropriate voice to deliver more typically irresistible grooves. The Coyu Kitty-Push remix gives the drums much more of a tribal flavour and uses more melody, all of which eventually reaches the joyous chorus line. 8

release: April 18



Hot Since 82
Hurt You EP
Moda Black

This new instalment from Moda Music begins life with another notable Leeds artist, Hot Since 82. Hurt You, fuels the senses with an infectious bassline, tripped-out voices and insistent hi-hats which punctuate the production throughout – you couldn’t really ask for a better start from the label. Second track, Sundown compliments the picture with darker notation and funkier percussion being offset by semi- melodic vocal snippets and dark, brooding synth chords which all feel suitably lush. 8

release: April 16


Guy Gerber
The Mirror Game

Sounding enviously similar to The Cure circa 1980 with its evocative, gothic overtones and that uniquely, haunting bass-guitar sound, this even manages to transcend that very possibility via heavenly treated voices and shimmering electronic percussion. A truly excellent piece of music to refresh the soul – or at least words to that effect. One Day In May, proceeds with a stunning chord progression that deifies simplicity and is again aided by a surreal collection of voices and sounds so tempting that you can almost taste them. The Snake Pit Dub of the title track ends by tweaking the elements into yet more ethereal beauty as a special bonus for the digital package. 9

release: April 16


Kate Simko & Matt Tolfrey
The Same Page EP

Leftroom’s Matt Tolfrey teams up with Chicago’s Kate Simko to produce this devastating collection of one, two, three tracks. Opening with, Take It Easy which blurs the lines between Jazz, House and Electro – which if you ask me sounds like the perfect idea – by playing cool guitar alongside big fuzzy chords and electro-funk bass, this also boasts a clever arrangement that is never less than electrifying. Synthetic sounds continue to flow with, Lazy B coming complete with refreshingly funky percussion, leaving No Shame to develop the Chicago theme further into the ethos. 9

release: April 16



Voices Of Black
Atom Bomb
Double Standard

Dropping the tempo but never easing up on the mood comes this latest from the creative hands belonging to Voices Of Black. It’s hard not to admire the audacity of their spirit as these laid back vocals tease a sense of drama from the quietly addictive, head-nodding rhythms, and it’s even harder not to nod likewise. Remixes are from the even more down-tempo Taner Ross, who furthers the tension still to highlight the vocals’ charm, and No Regualr Play feat. John Camp Remix who pick up the pace again giving the song some House pizzazz via the detuned voices and funky arpeggios. 8

release: April 23


The White Lamp
It’s You
Futureboogie Recordings

Proving once again the strength of contemporary music, The White Lamp show the way the way forward with their combination of irresistibly cool grooves and knowing vocals. I guess the clue is in the labels’ name: Futureboogie. The drive of It’s You lies within the pulsating basslines and a vocal delivery which places tension against melody, and is nothing but completely enticing. Ron Basejam aka Jim Baron from Crazy P supplies the remix with typical panache and comes up funky as ever with a selection of deliciously soulful chords, leaving the Eats Everything and Christophe Acid Ouse remix to do that very thing in equal style. 8

release: April 16



Jim Baron interview (Crazy P)


Listening to the album feels like all the good things in music – melody and instrumentation. How do you feel about song writing today and how it fits in with Dance music?

Although I’m personally a big fan of the ‘song’ in its traditional format I don’t think we’ve ever applied a certain set of rules to our writing and I think that’s true more than ever with the new album. I think you have to be careful with dance music because a lot of the good stuff can come from just a simple groove and we’re firm believers that if it ain’t broke don’t fix it. That’s why on this album we’ve used vocals a lot as a textural element in addition to the usual verse/chorus gubbins.

The Unbearable Likeness Of Being is a beautiful song – tell me how it was written?

That song is one that appears very much as it was originally written and recorded. We had the moody string running and just started jamming over it, Danni writing the vocal as we went. It came together pretty quickly. I ended up doing the moog bass and rhodes as one live take whilst Toddy was getting the beat production together. It was the same thing with the vocal, one take on a hand held standard microphone. We tried re-recording the vocal on a better quality mic and adding other elements to the production but whatever we added we always seemed to go back to the original recording as it had a special quality and vibe that couldn’t be bettered. That’s what we went with in the end.

What is your favourite instrument/ piece of studio equipment?
Tough one that! It does change but whilst recording the album I acquired an original Godwin string synth. It fast became a fave.  We’d always had to try and re-create that classic Solina string sound (a great example of this is Herbie Hancock – Stars in your eyes) through plug-ins or new synthesis and on hearing the Godwin it became clear nothing can get close to the real thing, it has a character all of its own.

Vinyl or Digital? And why?

Nothing sounds like vinyl so that would always be my first choice. I play off CD’s now when I’m on the road but it’s mostly stuff i’ve ripped from my vinyl collection. CD’s is as digital as i’ll go, i’m not really feeling the tractor/controller thing. I can see its appeal but it’s not for me, I need a hands on format. We’ve been hammered on excess baggage many times when we used to carry records, particularly when you’re travelling with all the band equipment too and i’ve had my tunes not turn up for a gig or two as well. With cd’s in your hand-luggage it removes that heart-ache and cost.

How do you approach Dj’ing, what makes a good DJ?

I think I’m pretty old school on this one! I got my first real gig in the early nineties when I was a student, warming up in the main room of a house club in Northampton. Don’t look for it, it’s not there anymore 😉 the guy who owned the local record shop gave me the gig on the strength of what I used to buy from his shop and he was a great teacher. I learnt programming and knowing your records are the most important things. In the warm up i’d play long mixes, move it around of course but always bring it back in time for the guest to start. I noticed the guests would generally play shorter mixes and keep things moving a lot quicker so when I started doing guest slots myself that’s how I tended to play it. I know it’s just my way but I think the art of dj’ing has been lost somewhere along the way in favour of who can play the biggest and most dynamic tune. Either that or I’m just turning into an old git!

listen here



Reviews: 11

Crazy P
When We On
2020 Vision

It feels good to be alive. That’s how this album makes you feel. New single, Open For Service states the intention with breezily accessible disco being the order of play. But not one to sit still Crazy P transport you through a series of changes that incorporate all thats been good in dance music from the past number of decades. Two things are patently apparent: 1) the playing is par excellence 2) Danielle Moore’s vocals are hot – listen to The Unbearable Lightness Of Being for lessons in soul. This leads neatly onto the fact that this album is about impressive songs and emotive music, and that’s a good place to be at in 2011. Plenty of other tracks of note too, love the Womack (I think) sampling Heartbreaker and Eruption which so obviously epic it hurts. As they used to say back then, a touch of class. 9

album released Sept. 19


Roots Panorama
‘Threee EP’
Versatile Records


Roots Panorama aka Deetron and Ripperton must love living life on the edge if this vibrant clash of noise is something to go by. You will need to listen really intently to the Deetron mix of Three otherwise you might lose yourself in the midst of fierce techno rhythms and a killer House bassline, with an array of insistant electronic sound filling in the spaces between. And just to make the point again, a Beeetz version follows – you get the need for the three eee’s now. The Ripperton mix then destroys the template to get deeper with yet more devastating bass and this time classic piano which come together in a priceless, uplifting moment. 8

released Sept. 26