Aidan Lavelle
Direction EP

aidFollowing on from where the excellent Get Yourself left off this EP moves forward with three new tracks again via Rebellion. The title tracks itself is big and bouncy packed full of uplifting vibes for hands in the air moments complete with vocoder-esque vocals and soaring synths all sounding just right. Crush, then opens with beautifully jazzy tones offset by twisted voices and then proceeds to launch into an uber funky groove that sets exciting electronics off in all directions. However for me its Issues that scores 10/10 here with yet another devastatingly killer bassline from Mr Lavelle, feeling more akin to Get Yourself building with moody intention and irresistible rhythms that do indeed reach fever pitch.


Benoit & Sergio
Adjustments EP

benThis stunning EP from Benoit & Sergio positively simmers with delight with opening number Shake Shake displaying a playful, almost pop sensibility that you may, or may not, find completely enticing. I love the the way the vocals dance around the bassline and piano melodies, and the fact that this sounds in a space and time of its own making. But the pièce de résistance is undoubtedly Adjustments, a perfectly crated piece of music that blends gorgeous synths together with an addictive, melancholy vocal delivery which says this: Sometimes I think that DJs don’t understand that we’ve been waiting around all week for this and sometimes I think that djs don’t understand that we don’t care about their cut-off frequencies or resonance we just want to dance and then walk home with a girl that we met and take her by the hand and never wake up.

release: October 1


Out of the Basement

Out of the Basement aka Steve Leggat and James Ellis have re-edited two equally seductive slices of funkiness for long standing Manchester institution El Diablo’s Social Club. First up is their reworking of the slinky soul vocals of Take Me With You which are backed up by chunky beats, punchy guitar and spirited piano. Next the excellent low-slung, cut-up of the Brothers Johnson version of the Shuggie Otis anthem ‘Strawberry Letter 23’ is certainly a gem well worth adding to your record collection.

release: September 14


Jamie Fatneck / Lucci Capri
Vol 9
Messalina Records

MSL09_SIDE AThe Spanish label founded by Lucci Capri (aka DJ Callum) and fellow WE Love Space resident Jamie Fatneck continues its theme with this latest EP. Four new twists beginning with the nine minute re-imagining of Billie Jean which runs feverish Acid lines across Michael Jackson to grace the song with fresh impetus. It’s certainly creatively executed and as it remains, for some, a dancefloor classic is possibly an essential addition to your canon. Next up is the seductive and ultimately far more credible Dame Un Beso which plays sassy Latino rhythms over daring, smoky vocals. The tempo then gathers pace with the equally captivating Because Today I Saw U and Esther Phillips gorgeous vocals dripping all over the hot filtered grooves. Leaving another smooth Fatneck edit to finish on Aretha Franklin’s version of ‘What A Fool Believes’.

release: mid September


Paradise 45 ft Kathy Diamond
Madhatter White

madTwo names that will be more than familiar: Guy Williams & Thomas Gandey team up as Paradise 45 once again to release their debut on Madhatter White. As you’d expect this packs more than a hint of fired-up Disco, while coming over like a heavy-duty cosmic production with sparkling electronics and Kathy Diamond’s self-assured vocals. An excellent Dub follows on from the Original version concentrating on all that sizzling instrumentation with two remixes adding a different angle. Firstly from Deepmode who’s bump n grind rhythms add a real swing to the affair, and then from Rudy’s Midnight Machine who give it a deeper flavour with melodic bass and synths lines.!paradise-45/c10xi


Aidan Lavelle interview



Can you tell us about your relationship with Crosstown Rebels and how that originally came about?

After I left composing and producing full time for UNKLE my game plan was to concentrate on the film score/advertising stuff I do under my own name, and also to relaunch my solo music career. One avenue of this was the Dance stuff I had been doing prior to UNKLE and also for the UNKLE ‘Surrender Sounds’ remixes that I was involved in. I wanted to start writing some new tracks that were reflective of what I was into now and what has inspired me around the electronic music front. The Crosstown Rebels camp was the only option I was interested in really. It was as simple as introducing myself and emailing my tracks, and the rest came out of that. It’s funny really as I didn’t have a history with Damian prior to this yet we share countless mutual friends. The relationship has grown out of that.


Can you talk us through the production process involved with creating your second single for the label ‘Get Yourself EP’?

I think it always starts with ideas going on in your head from other stuff you have been listening to. You start building a patchwork of ideas from things you like from other peoples records. You start to write the record and your ideas come from that initial patchwork, and the track grows into its own. I sent the record to Damian and we both agreed that it had the potential to be bigger with vocals, and so I decided to come up with some ideas. I have a classical and singing background from my education so I wanted to develop my own ideas for the first time in that context. On a technical level everything was done on a modest studio in my house.



You’re Dj’ing at the Crosstown Rebels event at The Warehouse Project in Manchester December 15. How would you define your style of Dj’ing? What for you makes a good DJ?

aidan djI started collecting vinyl in the early 90’s and that’s when I began Dj’ing, but for me now I personally like the opportunities that technology has provided to get more involved. I’m very much from the camp that believes that a great set is not defined by the technology or equipment, or methods you use, but how the finished product sounds and how the crowd reacts. There is no right or wrong just how it sounds.

Most decent DJ’s would agree I’m sure that being able to beat match is a pretty basic ability that’s far outweighed by the art of track selection and order. I mean, the BPM is staring you in the face on CDJ’s as it is anyway, so turning off a sync button doesn’t really make you a god these days. Richie Hawtin’s sets are synced but the things he does with that are amazing, especially with effects. I had a period where I used Ableton, which I loved for the flexibility, but got a bit stale and seems more suited to an actual live setup. The meet half way for me is Traktor. I am absolutely loving the new Remix Decks. They give me the flexibility to introduce other ideas into the mix in a really creative way.


How would you describe the differences between the music you produced as part of UNKLE and what you are currently involved in producing – what elements are most important to you in making music?

There is not a huge amount of difference to be honest other than that the music I write, and its style, is now in my control. UNKLE had a lot of different things going on under that roof that people might not really be aware of: Advert Pitches, Film Scores, Albums, and Remixes. UNKLE is best known for the sound of its Albums, but that isn’t exactly for instance what James DJ’s as a rule, or how his remixes sound etc. I still do a lot of the same sorts of things just under Aidan Lavelle now.

As far as new projects I’m currently starting a library album for De Wolfe Publishing, writing a score and sound design for a short film, and a feature length film, plus also working on more Dance stuff as well as trying to get my album finished!



When did you begin to DJ and who inspired you to do so?

I actually started producing first and Djing naturally came out of that. I had an Atari based midi setup when I was 8 in the mid eighties!!!!
My main thing when I was younger though was Detroit Techno so: Juan Atkins, Derrick May, Kevin Saunderson, Carl Craig, Eddie Flashin Fowlkes, Robin Hood, Stacey Pullen, Kenny Larkin, Blake Baxter, Drexciya, Mad Mike, Red Planet etc. etc.


Do you have any particular favourite pieces of software/ hardware that you like to use in creating music?

My Mac, my Andromeda, and my Moog Voyager are my favourites and the most used but I have lots of other tasty bits too.


From the wide range of music that you have released you must have a very diverse set of influences. Where did these come from and who have you been listening to for inspiration recently?

My first influence for music had to be my Granny and my Dad. My Granny taught me the piano (a concert cellist and pianist herself) and my Dad used to play me a lot of music growing up. He took me to Ronnie Scotts for the first time when I was twelve! He was desperate for me to hear Dizzy Gillespie’s Cuban prodigy Arturo Sandoval. My brother James was also naturally a big influence.


aidan coverWhat are your plans for 2013?

Watch this space 😉





Tone Of Arc
Shaking The Baby/ No Pushers
No.19 Music

And so the story continues with Tone Of Arc and this deliciously funky production that combines effortless cool with heavy-duty electronics. Providing a taster of what’s in store from his forthcoming album for the label Derrick Boyd’s distinctive ‘live’ style incorporates all that’s hot at this very moment: creatively treated voices saying something alongside irresistibly dark-bass notes, with imaginative arrangements of percussion and sound. No Pushers, then expands those boundaries by delving further and deeper with sumptuous keys and almost jazzy Rhodes that feel comfortably warm, while reverberating vocals remain tastefully soulful. Outstanding.

release: May 21


Aidan Lavelle
Tinnitus EP

Not in any way to make light of Tinnitus but this does sound good. The title track sizzles with sparkling sythns which offset the deep beats and bass perfectly, and it’s those very notes that give the production such a unique feel. You could say, hypnotic and even apply the words trance inducing…
Stronger, feels moodier and again plays challenging keys off against throbbing rhythms, ending up seemingly sinister with its unsettling, insistent vocal edits driving the distraction. Play It, almost lightens the mood with funkier feeling drums and bass, though also retains its playful sense of experimentation and probing, nearly ambient, sounds.


Tristesse Contemporaine
Tristesse Contemporaine
Dirty / Pschent

An excellent debut album from, Tristesse Contemporaine whose electrifying take on new-wave is all at once dangerously exciting, yet always deeply emotional. Love the way the words play with the late seventies inspired guitar sounds on some tracks and the tension these arrangements inspire. For starters can’t get enough of the beginning number, Empty Hearts which is a case in point with its Hook styled bassline, Magazine beats and icy cool vocals sounding so in-vogue it hurts. But, it’s certainly not all about historical reference points as the album plays very much like today with spoken words rapping over irresistible rhythms and uniquely, contemporary electronics. Try the video to I Didn’t Know below and you’ll get a piece of the action…

release:  May 21


Various Artists
Paper Cuts #1
Paper Recordings

Desperately trying to avoid the cliché but there actually is: something for everyone on here. That is if your mind is open to touches of everything from Balearic to Latin, to House and Disco, plus with most shades coloured in-between you could also pretty much use that other cliché: essential. Music like the Mudds Width and Comfort remix of Key boy ‘Viva Blue’ makes you pray for summer days to materialise sooner rather than later (U.K) while Flash Atkins, Crazy P and Neil Diablo will have you gravitating towards the nearest dancefloor. But that’s probably to undersell the sum total of the twenty two tracks which are offered here on what is essentially a first-rate compilation.

release: May 21


Bill Withers
Just As I Am

Bill Withers debut album from 1971 gets a timely reissue care of bbr and a record that contains not only Harlem and Ain’t No Sunshine, but also Grandma’s Hands can really only be regarded as a classic. If you were lucky enough to catch BBC 4’s recent excellent documentary: Still Bill then this album is all the more profound as his experienced wit and wisdom can benefit us all. Produced by Booker T. Jones this still sounds incredible today and there are a couple of great covers to witness too, namely Let It Be and Everybody’s Talkin’. But don’t miss out on the exquisitely mournful Hope She’ll Be Happier and or the blues/ rock inflected Better Off Dead either – indeed don’t go missing out on any of it!