While we appreciate the attention and dedication to our Dub blogspot university, we have in fact ripped nearly our entire music collection (at least the best of it)....
If you love what you see, you should appreciate the East Coast urban background which spawned such a diverse collection....
Instead of posting filler on ICOOYS, I've been spending most my time over @ PHILAVLAVA forum/blogspot recently. These cats have seriously given my 1993-era vibe a new voice and proper representation via their 2 channels:
DC's Version Sound takes a break from the chalice to give you your late summer dub fix. The tracklist here is loaded with dub heavyweights: Aswad, Iration Steppas, Gussie P, Alpha & Omega, Vibronics, and more.
Summer 2008
Tracklist: 1. Aswad - Ways of the Dub (12" B - Dub Version) 2. Iration Steppas feat. Tena Stelin - Locks (Vocal) 3. Iration Steppas - Locks (Dub) 4. Gussie P All Stars meets Mafia & Fluxy - Dub on the Go 5. Aswad - Dub Style (12" B - Dub Version) 6. Reggae On Top All Stars - Calliman Dub 7. Mykal Rose - Bingi Man A Come 8. Mixman Dub Section - Nyah Man Dub 9. Chris Jay - Rowing Dub 10. Alpha & Omega Meets The Disciples - Book of Dub 11. Dubkasm - Elemental Dub 12. Vibronics - Flying Dub 13. Dubkasm Meets The Disciples - Armoured Dub
Yes the proprietors of ICOOYS have taken a short hiatus to take care of family and life stuff, but it seems as if we've still been getting 700+ visits a day so that's fantastic.
We won't be posting stuff nearly as frequently as we used to, but we've got a secret cache of new/old material that we'll be posting at our leisure. Please do enjoy!
This first one was introduced to me by a certain Whalefish after a late late night (ahem) and lets just say the record made a profound impact on me. And it wasn't just due to lack of sleep. It truly is beautiful, emotive electronic music that had somehow slipped under my radar all these years. Co-produced by Plaid, this 2x12" is reminiscent of Warp's Artificial Intelligence-series production with subtle electronics, popping your emotions from left to right like a game of Pong. Love It. FYI - my 2 personal favorite tracks from this first 12" are the 3rd tunes from each side: 'Yip' and 'Il.' Sooooooooooo damn good!
Now Mr. Whalefish had 2 copies of this 2x12", but the one he let me borrow to rip had just the first record in it. So we're swapping that tomorrow night to get the 2nd 12" - I just couldn't wait to post it all at once, so here's the first one....
Normally, I would stay away from such hilarious reviews - but I found one review of this amazing record online - and it looks as if it were written after coming back from a rave or being up way too long. It's not a bad review - it's just really funny to me but still quite expressive and manages to articulate the emotional affect this record has on the listener. Here ya go:
Sean Spencer is +ONE; add his singular synth-compositions with co-production from Plaid and you'll find an enticingly peculiar brand of electronica...
The cheerfully rambling ditties of Bare Necessities are crisp, clean and joyous. Synthesized sunshine illuminates interestingly crooked pathways through a cartoony funland.
Circus-like organ tones are battered by tiny robotic percussion as STICKER evolves into a peppy, happily bouncing entity of warm motes and twangy snippets. Bite into a dancier groove as NIBBLE chews up and spits out bubbling lows, twinkling highs and shapeless drifts, all to tight computerized syncopation. Quirky keyboarding occurs on various levels, all comingling somehow to become bright, blippy YIP.
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+One - Bare Necessities Label - DeFocus Producer - Plaid Written by - +One Released - 2000 Style - AM IDM, Electro
12" #1 Tracklisting: A1 Sticker A2 Nibble A3 Yip B1 Shao B2 Metro B3 Il
Not much I can say about this.... Mecca and the Soul Brother is one of the best albums ever produced. Amazing, amazing productions. These are the instrumentals.
Tracklist: A1 Return Of The Mecca A2 For Pete's Sake A3 Ghetto's Of The Mind A4 Act Like You Know B1 Lots Of Lovin B2 Anger In The Nation B3 They Reminice Over You
Formed 1984, Mount Vernon, New York, Pete Rock (b. Peter Phillips, June 21, 1970, Mount Vernon), C. L. Smooth (b. Corey Penn, Oct. 8, 1968, New Rochelle, NY.), DJ. Pete Rock Aliases: Soul Brother No. 1, Chocolate Boy Wonder, The Creator. CL Smooth Aliases: Carmel King, Mecca Don. Mt. Vernon’s most prolific producer got his start as a deejay for Marley Marl’s “In Control” radio show on New York’s WBLS. His turntable skills led him to produce for various artists. In 1991, Pete was signed to Elektra records with C.L. Smooth and they dropped the now classic EP, All Souled Out. Their first album, Mecca & The Soul Brother, featured a tribute to Trouble T-Roy Dixon (R.I.P.) who was a member of Heavy D & The Boyz. The album also contained ground-breaking beats that mined the crates for horns, snares, and clever interludes.
Pete Rock - Petestrumentals Label - BBE Released - 2001 Style - Dope Beats, Instrumental, Hip-Hop
What can I say? Pete Rock is the man; one of the most prolific producers in the game. These instrumentals are jazzy, quirky, laidback and ultra dope.
Tracklist: 1 A Little Soul 2 Play Dis Only At Night 3 Something Funky 4 For The People 5 Hip Hopcrisy 6 Smooth Sailing 7 Pete's Jazz 8 The Boss 9 Get Involved 10 Give It To Y'all 11 Walk On By 12 Cake 13 What You Waiting For 14 Nothin' Lesser (Jamie's Mix)
Various - Fat Jazzy Grooves Vol. 14 Label - New Breed Released - 1996 Style - Future Jazz, Acid Jazz, Instrumental, Dope Beats, Hip-Hop
Tracklisting: 1 Nutsek - Mood 2 Beats Of San Francisco - Respect 3 Hustletron - Maximizer 4 The Prunes - Rashaan 5 I-Cue - Pass It Around 6 DJ Smash - Kikit
I'm not sure how many of these were actually released, but the Fat Jazzy Grooves series came out on New Breed in the mid-late 90s and they are so so dope. Lots of Downtempo/Future Jazz/Hip-Hop Instrumental beats. My favorite from this bunch is Hustletron's Maximizer because it reminds me of a tweaky Ultramarine groove. Great stuff!
Super big thanks to the Wardmeister for another batch of killa RSW 12" rips!!!
You rule dude.
RSW 2a Biting my Nails (Bassnumb chapter).mp3 Biting my Nails (Instrumental Dub 1988).mp3 Biting my Nails (Soundsystem plays a renegade tune).mp3 Inspiral Carpets - This is how it feels (Drum mix).mp3 Inspiral Carpets - This is how it feels (Robbery mix).mp3 Manphibian.mp3 Mash-Up.mp3 PWEI - Cicciolina (The RSW mix - smoothneck).mp3 RSW Megamix (Lesson 1).mp3
RSW 2b Space Gladiator (dub).mp3 Space Gladiator.mp3 The Phantom (remix).mp3 The Phantom (Turntable Scratch mix).mp3 The Phantom.mp3 Thunder 2.mp3 Women Respond to Bass (12 inch vocal mix).mp3 Women Respond to Bass (Women Respond in Heaven).mp3 Women Respond to Bass (Women Respond to Terror Drums).mp3
In response to the handful of More Rockers requests we received in the past week alone, I have to say their old material is impossible to find! I couldn't find anything really. So I apologize for that, but I did find some great mixes featuring lots of that Bristol Dub/Drum'n'Bass sound, including More Rockers acetates. So that should tide you over until something more substantial comes along...
A bit about Smith & Mighty: The story of SMITH & MIGHTY is closely bound up with the musical history of Bristol, their hometown. For a good decade Rob Smith and Ray Mighty (joined nowadays by third member Peter D. Rose) have featured among sound pioneers like Massive Attack, Tricky, Portishead and Roni Size who have enjoyed worldwide success. However, despite their huge influence on the 'Sound of Bristol', whereas the aforementioned have been able to celebrate their well-deserved successes, SMITH & MIGHTY have always had to take a back seat due to a plethora of unfavourable circumstances. In spite of some excellent 12" releases and their totally cool debut album 'Bass Is Maternal', an international breakthrough was not foreseeable for the time being. This only changed in 1998, with their self-compiled release for the DJ Kicks series, which firmly put them back on the map and earned them much respect internationally. But let's start at the beginning:
In the mid-eighties a scene arose in the St. Paul's district, based around DJs like Nellee Hooper (later founder of Soul II Soul), Miles Johnson, Grant and Mushroom, who soon dubbed themselves the Wild Bunch, going on to father the 'Sound of Bristol' by blasting a bassy melt-in-your-mouth mix of fusion, dub, reggae, soul and hip hop out of their soundsystems on to the streets of St. Paul's. What was initially played through traditional soundsystems progressed into the production of their own tracks, and the 'Wild Bunch's first recording 'Look of Love' clinched them quite a local hit. Co-producing was a second Bristol team, namely Rob Smith & Ray Mighty, who had established their own soundsystem called '3 Stripe' In 1987 SMITH & MIGHTY released a cover version of Burt Bacharch's 'Anyone (Who Had A Heart)', shortly followed by 'Walk On By' on their label, also dubbed '3 Stripe'. With this brace of tracks and their mellow basslines, soulful vocals and deep arrangements SMITH & MIGHTY had set the precedent for successive releases in the British port. (Such as a certain Massive Attack's debut single 'Any Love', which they produced.)
They were also producers of 'Wishing On A Star' by Fresh Four (a one hit wonder featuring the then 17 year old DJ Krust) at the end of 1989, marking the beginning of a five year odyssey through the lowlands of the (major) music industry. After the huge success of 'Wishing On A Star', record companies began to take an interest in the boys from Bristol. They refused a lucrative offer from Virgin's Richard Branson, commenting 'We just don't like his style, and the way Margaret Thatcher portrayed him as the ideal business mogul. Maybe it's got something to do with the fact that we used to be punks" (Ray Mighty). The deal signed with London Records proved to be disastrous. They still went ahead with producing Carlton's album, 'The Call Is Strong', exposing a real source of inspiration, but the record company couldn't handle their visionary downtempo beats when England was obsessed with fast house and techno beats. To this day the album is regarded as the 'great lost album of the Bristol Sound'. Further SMITH & MIGHTY productions were greeted with the same lack of recognition by the record company and mostly weren't even released.
After their deal with the major company had expired, the first album on their own label More Rockers was released in 1995 (a dub version of an LP originally recorded for London Records). Due to woeful distribution, this album only managed to make its way to hard core fans, yet rave reviews in the press consoled SMITH & MIGHTY. The next stage was to concentrate on the project and label More Rockers, run with third member Peter D. Rose. They started laying down tracks with groundbreaking breakbeat and Drum 'n' Bass again, which were picked up and reworked by producers like Roni Size and DJ Krust. Hence the arrival of 'Bristol Jump-Up'.
Hip hop, reggae, soul and mainly a great love of dub make the songs on the new album somewhat of one of the most exciting records to appear out of Bristol. The album was recorded over a period of two years, with vocals by the likes of Tammy Payne, Alice Perera and Rudy Lee, who all also hail from Bristol, and SMITH & MIGHTY's deeply-embedded roots in the city make the whole thing into rather a family affair.
Rockers Hi-Fi - Transmission Control (1998)
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Now for the mixes!
Smith & Mighty - Essential Mix 11 - 24 - 96 part 1 Quality: 85.93 MB | 192 kbps | 44100 Hz | Stereo | 62:34 min.
Massive Attack - Any Love (Massive Attack) Smith & Mighty - Walk On (Three Stripe) McKelz Smith & Mighty - Mix me Down Maestro (Three Stripe) The General - The Time To Rhyme (FFRR) Fresh 4 - Wishing On A Star (Ten) Smith & Mighty - Anyone (Three Stripe) Receiver - Irrational (Swarf Finger) The Wild Bunch - The Look Of Love (4th & Broadway) Smith & Mighty with McKelz & Tammy Payne - Seeds (White Label) Wilks - A & R Man (White Label) Dub Ghecko - Love To The Power Of Each (Dub Head) Dub Ghecko - Love To The Power Of Each (Dub Head) Smith & Mighty - Killa (FFRR) Blue & Red/ Freddie - Blessed (Acetate Pressing) Blue & Red - Unity (Acetate Pressing) Blue & Red/ K.Oil - Don Anything (Acetate Pressing) Tamlins - Baltimore Remix 2 (Acetate Pressing) Tamlins - Baltimore Remix 3 (Acetate Pressing) Smith & Mighty - Heavens In (Acetate Pressing) Bally Sagoo - Ghuraliya (Columbia) Virginity - Rainbows (More Rockers) Flyn & Flora - New World (White Label) Jazklash - Off The Edge (White Label) Jazklash - BQE (White Label) Smith & Mighty - Same (More Rockers) Smith & Mighty - Higher (More Rockers) More Rockers - Another Day (More Rockers) More Rockers - Sound Boy (More Rockers) More Rockers - Show Love (Acetate)
Smith & Mighty - Essential Mix 11 - 24 - 96 part 2 Quality: 78.98 MB | 192 kbps | 44100 Hz | Stereo | 57:30 min.
More Rockers - 162 (Acetate) More Rockers- Nightfall (More Rockers) More Rockers - First Time (More Rockers) More Rockers - Frush (Acetate) More Rockers - Das Ya One (More Rockers) More Rockers - 1 2 3 Break (More Rockers) Silent Poets - Talk Is Toy (Acetate) Jazklash - Than The Haze (Acetate) More Rockers - Bibo (Acetate) More Rockers - Cure (Acetate) smith & mighty - Down In Rwanda (More Rockers) Flyn & Flora - Bass Speaker (White Label)
Rob Smith - Live at Groovalistic 11/2002 No Tracklisting available - this mix starts off dubby/housey and then moves into Bristol-style Drum'n'Bass. Very good mix!
Received a request for the Tresor Vol. 1 comp which I unfortunately could not locate. But I did find a couple of the first Tresor releases, which are just so good I have to post them!
A bit about Tresor: Tresor (German for safe or vault) is an underground techno nightclub and record label - one of the most influential clubs for techno music in the 1990s. The club was founded in March 1991 in the vaults of the former old Wertheim department store in Mitte, the central part of the former East Berlin, next to the famous Potsdamer Platz, however the history of the club goes back to 1988 when the electronic music label Interfisch opened the UFO Club in Berlin. UFO was the original centre of Berlin house and techno, but due to financial problems that club closed in 1990.
After UFO closed, Interfisch's head, Dimitri Hegemann and some investors in the club found the new space in East Berlin. This was advantageous timing, as it was only a few months before Germany unified. The vaults under the Wertheim department store proved to be the perfect location for a club, and Tresor quickly became the place to be in Berlin. Tresor continued to be a popular club to this day, having expanded and reconstructed continuously several times to include an outdoor garden area, and a second "Globus" floor. The concept for the Tresor floor in the basement was specifically hard techno, industrial and acid music while Globus was featuring mainly more mellow house sound. The recordlabel Tresor Records was founded soon after the club first opened, in October 1991. Featured artists on the label include Jeff Mills, Juan Atkins, Robert Hood, Joey Beltram, Pacou, Cristian Vogel and many others.
In 2004 the documentary "Tresor Berlin: The Vault & the Electronic Frontier" was released. Directed by Mike Andrawis, it features interviews with Hegemann, Carola Stoiber, and DJs & artists associated with the club & label. [1] The film covers the period from Hegemann's involvement with the Fishladen and UFO clubs in Berlin-Kreuzberg to the final months prior to Tresor's closure.
Tresor closed on the 16th April 2005, after several years prolonged short-term rent. The city sold the land to an investor group to build offices on the Leipziger Straße location. It was open for each night of April 2005, with the final event starting the Saturday night with queues stretching all the way down the road, and still going Monday morning.
Tresor reopened on 24th May 2007 in a renovated power plant on Köpenickerstrasse in Mitte.
The following are the first releases off the Tresor label, 001 and 002 respectively.
Tracklist: A1 Sonic Destroyer (5:00) A2 Rave New World (5:29) A3 The Final Hour (4:15) B1 G-force (4:12) B2 Whatever Happen To Peace (5:30) B3 Mindpower (5:43)
This is great techno. 1991 style. Very minimal and soulful, but not the standard 'soul' more like machine soul. Tons of bleeps and shuffly 808s + synth stabs for days. Awesome stuff!
First Tresor release. "Whatever Happened to Peace" is a dark, sophisticated, and suprisingly simple classic. Note that this was re-released by Mute as "Sonic Destroyer" but with this EP's tracklist.
Just got a couple new mixes from my homey in Austin called MVSCLZ (aka Ben Aqua). Well that's his latest pseudonym at least; Ben is a man of many different faces and sounds. MVSCLZ plays alot of early 80s obscure-ish new-wave/electro/dub/disco stuff, which isn't necessarily much of what we post on this blog but it's always fun to switch things up every once in a while. Plus he sports ridiculous mustaches. Keepin it free-form, ya know...
This guy also sometimes performs in a 1-man fantasy metal band called ASSACRE (yes!!), which has been described as a continuous shredding guitar solo. While Wikipedia elaborates like this:
After releasing a demo in 2004 entitled Impossibly Silent, ASSACRE began making a name for himself throughout Texas with his wild, confrontational, and unpredictable performances. He is often extravagantly costumed in concert and in photographs. The costumes, which he creates himself, result in the visual aspect of the project becoming as important as the musical.
ASSACRE ambitiously toured the USA in the summer of 2005 in support of his first full-length release, Fantastic Illusions Worth Dying For (Awthum Records, August 2005). The album features 8 tracks of fantasy, death, and thrash metal mixed with bizarre, abstract sound collages, displaying a wide array of musical influences - from Death to Klaus Nomi to Merzbow to Sun Ra.
So anyways, this post isn't primarily about Assacre but I just think the notion is so ridiculous that it demands attention. For more on Assacre, peep the myspace: http://myspace.com/assacre.
So anyways, dude hooked me up with his latest mixes and I need to post them. Here ya go:
MVSCLZ - Black Magic Mountain 1. (intro) Vangelis - Conquest of Paradise 2. Future World Orchestra - I'm Not Afraid of the Future 3. Goblin - Tenebre 4. Claudio Simonetti - College 5. Bob East Showband - Squash 6. Martin Agterberg - Ephemeron 7. Gene Ramone - Romantic Face 8. Passengers - Go Michelle 9. Vivien Vee - Gotta Go 10. Imagination - Music and Lights 11. Peter Jacques Band - Counting on Love One, Two, Three 12. Arabesque - Don't Kiss a Crocodile 13. Change - Angel in My Pocket 14. Richard Romero - Non Chalance 15. Alexander Robotnick - Love Robot 16. Vam Cyborg - Gods Valley (New Dance Mix) 17. Patrick Cowley - Teen Planet
and MVSCLZ - 2008 Will Be Delicious 1 (intro) Cerrone - Désertion (Suite) 2 Midnight Passion - I Need You 3 Bamboo - Space Ship Crashing 4 Creatures - Digital Rebel 5 Neoton Familia - Disckokece 6 Disco Dream and the Androids - Connection Disconnection 7 Video Kids - Communication Outerspace 8 Psychic Interface - Dancin' in the Night 9 Xalan - I Only Move For Money 10 Space Art - Axius 11 Moon Birds - Astro 9 12 Giorgio Moroder - First Hand Experience in Second Hand Love 13 Telex - L'amour Toujours 14 Wish Key - Orient Express 15 Passengers - Go Michelle 16 Crazy Gang - Telephone Computer
Renegade Soundwave - Select 12" rips c/o Mr. Ward (thanks!!!)
1986 - 1990 Style - Electro, Dub, Electronic
Formed in London during the late '80s, Renegade Soundwave applied the punk and industrial ethic to both dub and dancefloor electronica, in good company with fellow sound terrorists throughout the decade, from Cabaret Voltaire to Skinny Puppy and Meat Beat Manifesto. The trio of Gary Asquith, Danny Briottet and Carl Bonnie debuted on Rhythm King with the 1987 single "Kray Twins," and moved to Mute one year later for an EP, Biting My Nails. Though Renegade Soundwave spent two years recording material for an album, the release of Soundclash and In Dub within six months vindicated them somewhat. The group's only hit, "Probably a Robbery" (from Soundclash), made the British Top 40 early in 1990, but Bonnie left later that year, after releasing the single "Renegade Soundwave", for a solo career. Asquith and Briottet spent several years in isolation before emerging in 1994 with the "Renegade Soundwave" single and the album How You Doin? During late 1994, after playing their first live date since their participation in 1991's "Mute Over America" tour, the duo released Brixton and The Next Chapter of Dub the following year. The compilation RSW 87-95 emerged in 1996.
Hardfloor - Da Damn Phreak Noize Phunk Label - Harthouse Released - 1995 Style - Electronic, Breakbeat, Techno, Acid, Funk
* Thanks for the sweet find, Rich @ RTX! ** This is one of my favorite Hardfloor records to date.
(Review from OuterBass) At the risk of being labeled bandwagon-hoppers, Hardfloor have taken their acid machines, vicious sense of rhythm, and their swing-beat sensibility and dropped their own distinct sound in the middle of the crowded and often incestuous world of triphop dub. As the astonished faces of Hardfloor fans after the first few notes of Da Damn Phreak Noize Phunk? can attest, it seems as if a constant in the universe has been altered. Unrepentent, Da Damn... is a metamorphosis of abrasive acid house energy into a six-track megadose of deep, funky grooves. The first track, "Yimtrop," characterizes the new style: leading in with a long intro, rising in anticipation in a seemingly predictable Hardfloor build, but instead of rocketing into high-tempo madness, drops like a rock into a low and slow dub beat accompanied by overlapping wails of the 303. Most tracks, such as "Triple Pay" and "Drive Thru," are powered by funky-swing beats higher in tempo, carrying strange noises and gurgling electric squelches in loose arrangements that allow an appreciation of those quirky notes that usually scream by at 140 bpm. To the often copycat school of dub and triphop, Hardfloor's facelift is a welcome new twist.
Tracklist: 1 Vainquer - Lyot (Maurizio Mix) (7:05) 2 3 Phase Versus Pulse - Das Rennen (6:24) 3 DJ Hell - Acid Musik (6:15) 4 Maurizio - T. T. / F. F. (7:33) 5 Noxious - E-Zug (4:56) 6 Violet Micro - ...I Know (6:45) 7 Underground Resistance - Jupiter Jazz (4:33) 8 X-102 - Mimas (4:50) 9 Jeff Mills - Changes Of Life (4:51) 10 Eddie "Flashin" Fowlkes & 3MB - Illuminisim (Sun Electric Edit) (6:25) 11 3 Phase - Current 1 (7:57) 12 3MB Featuring Juan Atkins - Die Kosmischen Kuriere (5:42) 13 K. Hand - Mystery (4:40)
rather good discogs review: Eclectic! Tresor compilations would never be so diverse as this CD. There are very very fine examples of so many sides of techno here that it is quite hard to fully appreciate it all without many listens. The punishing Maurizio remix of "Lyot", and Hell's "Red Bull" start the album off with a more schranzy feel, but 3 Phase's "Das Rennen" and Maurizio's own "T.T. / F. F." stray into more minimal Germanic territory. There's more of this later with the quirky 3 Phase piece "Current 1". Rather repetitive, but hypnotic.
Then of course come the Detroit contributions. What can I possibly say about UR's "Jupiter Jazz" other than it's practically the epitome of Detroit Techno-soul? CLASSIC, CLASSIC TECHNO! And along with 3MB & Juan Atkins' devastating "Die Kosmischen Kuriere" (a different and better mix here to the two on the "3MB and Juan Atkins" album!!). I'm almost too flabberghasted to notice the other fine pieces slotted in around them: Mills' "Changes Of Life" is a classic stomper, Sun Electric's edit of Illuminism is wonderful minimal-melodica, and K-Hand's "Mystery" is a rather simple but energetic slab of melodic techno that nicely rounds off the comp.
Essential, wonderful techno. The only slightly poor additions here are the Noxious and Violet Micro tracks - somewhat dodgy hard tech that sound a tad dated now. But everything else rules mercilessly. Best track = CAN'T CHOOSE!! *brain promptly explodes*
Tracklist: 1 I Can’t Understand You (4:42) 2 Metro Dade (4:46) 3 Metro Dade (Plaid mix) (6:05) 4 Behavior (4:31) 5 Take Me Away (Four Track Mix) (3:59)
Combining the talents of Skam's push button objects and DMC world champion DJ Craze, Ko-Wreck Technique brings funky IDM abstraction and flashy turntable wizardry together. Plaid also does an excellent remix.
Random review from discogs: Being a major fan of DJ Craze, and also Push Button Objects helps me like this one a lot.
If I had to compare it to something... i would have to say DJ Krush mixed with a idm tinge. Mellow triphop backgrounds, with idm-ified beats
The Plaid remix is outstanding... possibly my fave from the ep. Its definately worth picking up tho :)
I'm part of a dc-based Dub soundsystem crew called Version Sound, and we've been hard at work putting some promo mixes together to get bookings (book us!). We've got 2 new mixes up for your enjoyment. Both have been getting heavy praise from DC to SF to NYC to UK and beyond...
The first mix is "Twiss Up" - featuring a bunch of obscure Dub tunes that you will love. We've loaded up the chamber with dubbed-out 80s arcade fx and lazers and digital bombs, which really help bring the soundsystem vibe to the mix. Twiss Up goes into some obscure Jamaican funk later on in the mix - featuring two tunes from a record called Prime Cuts. Then its back into Dub. Good stuff. The second mix "Be Thankful" is a more rootsier dub, deejay and early dancehall-oriented mix. Both are excellent mixes and won't dissapoint! Here are the stats:
Version Sound - Twiss Up March 2008
1. Ethnic Fight Band - Dub Explosion 2. Ethnic Fight Band - Danny J * Special Dub 3. Fatman Riddim Section - Twelve Tribes Rock 4. Fatman Riddim Section - Sounds of Israel 5. Joe Gibbs & The Professionals - Majestic Dub 6. Matumbi - Ajali 7. Blackbeard - Hyde Park Corner Investigation 8. Blackbeard - Who Made The Prime Minister's Honour List 9. Prince Hammer - Churchill 10. Prince Hammer - Dreadlocks Rebel Force 11. Dynamic - Dub Dunza 12. Fatman Riddim Section - Lick Chalice 13. ??? - African Communication 14. Prime Cuts - Two-Way Stretch 15. Prime Cuts - Vice-Versa 16. Junior Delgado - Dance a Dub 17. Kodama & The Dubstation Band - Fire Fire 18. Kodama & The Dubstation Band - Neppu No Machi Pt. 2 19. Lloyd - Blood for Freedom Dub 20. King Tubby, Scientist & Prince Jammy - Chapter 2 21. Creation Rebel - Drum Talk
1. Aswad - Warrior Charge 2. Dennis Bovell - Scientific 3. Ranking Joe - Gideon Time 4. Prince Lincoln & the Rasses - Interstellar Over Dub 5. Joe Gibbs - No Bones for the Dogs 6. Clint Eastwood & General Saint - I Can't Take Another World War 7. Twilight Circus Sound System - Dub Voyage 8. Aswad - Hey Jah Children 9. Lone Ranger - Rub 'n' Scrub 10. Mikey Dread - Resignation Dub 11. Yabba You - No Tarry Yah Version 12. Clint Eastwood & General Saint - Another Ones Bites the Dust 13. Little Joe - Tradition Skank 14. Prince Jazzbo - Gal Boy I Roy 15. Jah Stitch - Set Up Yourself Dreadlocks 16. Michigan & Smiley - Sensimilla 17. Ranking Dread - Superstar 18. Mikey General - Tell It Like It Is 19. Dr. Alimantado - Poison Flour 20. Augustus Clarke - Rockers Time 21. King Tubby - Moving Version 22. Donovan Carlos - Be Thankful
Real Name: Jonathan Saul Kane URLs: http://www.phinnweb.org/jsk/ Aliases: Alexanders Dark Band, Block Ink, Depth Charge, Grimm Death, Mr. Selfish, The Octagon Man, The Spider, T.E.T.
Tracklist: Bounty Killer (The Sequel) Bounty Killers (Death is ma name - the bit in the middle - measly 1000 bucks version) Bounty Killers Dead by Dawn Dead by Dub Depth Charge (Drum Death - Bass It) Depth Charge (Han Do Jin version) Nectar Space Mutant
...more from our trusty Nottingham correspondent. Thanks Chris!
I ran these through some audio processes to get the levels up, but besides that they sound pretty solid!
One of the first record of the bleeps genre was “The Theme” by Bradford’s Unique 3 in 1989. LFO’s “LFO” was released on Sheffield’s Warp Records in 1990. Nightmares on Wax next released “Dextrous” on Warp Records in 1990. The label went on to release the club anthem “Testone” by Sweet Exorcist (DJ Parrot, and Richard H. Kirk of Sheffield avant-garde experimentalists Cabaret Voltaire), a track that went on to define the Yorkshire sound, and also the rather silly “Tricky Disco” by Tricky Disco. These were followed by a string of releases on the short-lived Leeds label Bassic Records, including the “Ital’s Anthem” by Ital Rockers, a Chapeltown dub reggae band diversifying into techno, and Juno’s “Soul Thunder”, an understated track now recognised as a techno classic.
The music scene in England changed, as piano house anthems took over northern clubs and the breakbeat hardcore scene grew in London and the West Midlands.
Bassic Records folded in 1991, taking most of their acts with them. Those who survived changed styles, with Ital Rockers going back to dub reggae and LFO shifting to techno.
Tracklist: Forgemasters - Shall we.. Forgemasters - Track with no name LFO - LFO (remix) LFO - Mentok 1 LFO - Quijard Man Machine - Man Machine (Cyber-Subsonik) Man Machine - Man Machine (Electronik - Automatik) Man Machine - Man Machine (Electronik - Genetik)
* submitted by our lovely Nottingham correspondent Chris Ward. Thanks, Chris!
Nightmares on Wax - Aftermath 12"s Label - Warp/Outer Rhythm Released - 1990 Style - Bleep, Electronic, Techno, Electronic
Seminal early Warp releases; Aftermath original + remixes + couple other tracks. This is the definitive Warp sound! Bleepy, uneasy warehouse techno c. 1990. Very very good stuff here. Download on sight! Buy it if you can, but these vinyl releases are not easy to come by...
The LFO remix of Aftermath is the best of the bunch, perfectly matching the early Warp bleep bass blueprint. Strangely eerie, and really capturing that Warehouse feel.
Re: Aftermath/I'm For Real: Both these tunes sample from Newcleus' 'Jam On It', Aftermath uses the female sweepy vocal off it, and 'Im For Real' uses the arpeggio'd bleepy loop.
NOW - Aftermath (LFO remix) NOW - Aftermath NOW - I'm for real (remix) NOW - I'm for real NOW - In two minds NOW - Sal Batardes
This is one of those comps that set in motion my musical tastes for the rest of my life. I remember the day I bought the Artificial Intelligence comps - I was working at a bakery (FELIX!) and Tower Records was right around the corner. I went there after getting my first major paycheck - spent hours at Tower. Decided to look underneath the CD Racks in a secret little cubby, and came across a stack of these Warp CDs. I bought them all on sight. They remain the most influential comps in my collection.
Tracklist: 1 The Dice Man aka Aphex Twin - Polygon Window (5:10) 2 Musicology - Telefone 529 (4:09) 3 Autechre - Crystel (4:36) 4 I.A.O. aka Black Dog - The Clan (5:07) 5 Speedy J - De-Orbit (6:11) 6 Musicology - Preminition (4:03) 7 UP! aka Richie Hawtin - Spiritual High (7:41) 8 Autechre - The Egg (7:32) 9 Speedy J - Fill 3 (3:53) 10 Dr. Alex Paterson - Loving You Live (4:00)
(From wiki) Artificial Intelligence was a compilation album released on Warp Records on July 9, 1992 (see 1992 in music), and subsequently for America in 1993 on the Wax Trax label. The album is the first release in Warp's Artificial Intelligence series.
Artificial Intelligence is unique in that it was one of the first electronic music releases that was supposed to be listened to, not danced to. The album art conveys this message. The armchair in the picture, the lone figure listening to the music, and the non dance music LP sleeves stewn across the floor all acknowledge that this is a new way for electronic music to go. "...We realized you could make a really good album out of it. You could sit down and listen to it like you would a Kraftwerk or Pink Floyd album. That's why we put those sleeves on the cover of Artificial Intelligence - to get it into people's minds that you weren't supposed to dance to it!"
Seefeel - Polyfusia Label - Astralwerks/Too Pure Publish Post Released - 1994 Style - Abstract, Ambient, Electronic, Shoegazer
Tracklist: 1 More Like Space (8:45) 2 Time To Find Me (Come Inside) (5:07) 3 Come Alive (5:06) 4 Blue Easy Sleep (4:42) 5 Plainsong (7:02) 6 Moodswing (5:45) 7 Minky Starshine (10:43) 8 Time To Find Me (AFX Fast Mix) (7:35) 9 Time To Find Me (AFX Slow Mix) (9:33) 10 Plainsong (Sine Bubble Embossed Dub) (8:46)
(review from AMG) Mark Clifford (Disjecta, Woodenspoon) combines two earlier Seefeel EPs for domestic re-release on the Astralwerks label. First are four tracks from More Like Space, followed by five more from Pure, Impure. The latter (and slightly more interesting) EP is put mostly in the hands of Clifford's peers, recruiting the remixing and engineering talent of Mark Van Hoen (Locust), Sine Bubble, and Richard James (Aphex Twin), who contributes two very respectful and similar-sounding mixes to the track "Time to Find Me" (both his "AFX Fast Mix" and "AFX Slow Mix" are must-haves for collectors). All in all, Polyfusia is one of the group's more guitar-oriented albums, though still heavily garnished with atonal keyboard ambience and minimalist loops, due in equal parts to Clifford's own aesthetics and the reworkings on the latter half of the CD. Sometimes the minimal and repetitive elements of the tracks test the listener's patience, but it's one of the things that sets it apart from other bands in the same genre. Seefeel trusts that the sound is interesting enough as is, without cramming too much into each measure. It breathes steadily enough; it's music for a dream you can't understand yet, but you know it means something important. ~ Keir Langley, All Music Guide
Cabaret Voltaire - Eight Crepuscule Tracks Label - Les Disques Du Crépuscule Released - 1988 Style - Electro, Experimental, Industrial
Tracklist: 1 Sluggin' Fer Jesus (Part One) (5:03) 2 Sluggin' Fer Jesus (Part Two) (4:21) 3 Fools Game (Sluggin' Fer Jesus Part Three) (7:13) 4 Yashar (5:02) 5 Your Agent Man (2:39) 6 Gut Level (9:37) 7 Invocation (6:23) 8 Theme From "Shaft" (4:11)
Review by AMG: An expansion of the original Three Crepuscule Tracks, Eight compiles a variety of slightly random tunes from the group's early eighties days for general consumption. The main cuts are the first, namely the three parts of "Sluggin Fer Jesus." If this cut wasn't the first attempt at what would become one of the most common and ultimately most cliched elements in eighties industrial/EBM -- a found-sound tape of an American evangelist over a dance groove -then it was close. Admittedly, at this stage Cabaret Voltaire wasn't dealing in the kinds of massive 'up yours' rhythm assaults later groups like Front 242 would perfect, but the jittery, reggae/dub-touched beats and arrangement on the first part are still fine stuff from the group. The second part starts with just the preacher (or perhaps another one) asking for yet more money, followed by instrumental snippets of the band fading up and then cutting out back into low synth/production murk. The final part, titled "Fools Game," has a heavily tweaked semi-rap and more crazed pastoral ranting floating around a combination of an older, emptier style of Cabaret Voltaire sonics and slight, but only slight, touches of the electrofunk then making waves. The remainder of the collection is a bit of a mixed bag, but still has some sharp bits. "Yashar," unexpectedly reappearing here from 2 x 45, kicks out a stiff beat and jam pretty well, while much of the latter half of the collection explores the balance between shadowy and more 'smooth' beats and production. The unexpected but still successful surprise wrapping Eight up is nothing other than a surprising faithful if still murky cover of Isaac Hayes' funk classic "Theme from 'Shaft'." Hearing Mallinder go on about the guy who's 'the sex machine to all the chicks' via vocal trickery that makes him sound like he's in a cave is amusing no matter how you slice it. ~ Ned Raggett, All Music Guide
On the Nuremberg based Downbeat/Lounge/Nu Jazz Label Stereo Deluxe, Boozoo Bajou released their 10 track debut album Satta. Since 1997 the duo Peter Heider and Florian Seyberth aka Boozoo Bajou caught the eye of DJ's through the release of three twelve inch records, Night over Manaus, Under my Sensi and Divers, which brought a whole lot of club-play and smaller notification all over the world. The album has turned into a classic and is described as a milestone for the downbeat scene. Those 10 tracks from Satta can now be found on more than 120 CD compilations worldwide and the music was used on half a dozen top class tv adverts.
Tracklist: 1 Yma (6:30) 2 Camioux (5:32) 3 Night Over Manaus (6:19) 4 Divers (5:02) 5 Bakar (5:14) 6 Down & Out (6:06) 7 Yoruba Road (5:40) 8 Under My Sensi (6:01) 9 Lava (4:51) 10 Satta (5:42)
(review from Outer Sound): Like a sound check for the Big Bang, Microstoria's snd simmers at a level just below consciousness and leaves you teetering on the edge of an explosion.
The album's eight tracks screech, swell, hum and bubble like a cat sauntering along an abandoned Moog. Everyday sounds, from the morning alarm clock to a siren passing under a window, swirl through the tracks as if through barely boiling water. Microstoria could be brainwashing you into donating your dog to the Jehovah's Witnesses, and you'd never know. Your conscious mind would be too busy trying to figure out what that noise was or where one track ended and the next began.
Tracks like "Teil Zeit" and "bpi" have no melody, no rhythm, no discernible instruments apart from the (unidentifiable, at least to these ears) electronic pantheon. On the other hand, Microstoria's defiant antistructuralism can be really rather soothing. Notes infiltrate thought and perception; the walls look a little stranger, outside noises become just another element of the composition.
Tracklist: 1 Sleepy People / Network Down (5:27) 2 Teil Zeit (5:40) 3 Per Formal (5:10) 4 Feld 1 (4:47) 5 Endless Summer NAMM (4:39) 6 Work Place (5:07) 7 BPI (3:57) 8 Quit Not Save (2:50)
V/A - Ingredients: Step 4 Label - Cookin Released - 2002 Style - Downtempo, Future Jazz
Tracklist: 1 Earth Leakage Trip - Glow Worm (4:39) 2 Nebo - iquid Sky (7:39) 3 Cedar - Amanhã De Manhã (6:20) 4 L. St. Amane - Fin Gourmet's Doubts (6:56) 5 Solaris - How Far (5:21) 6 Les Voleurs - Better (4:51) 7 Mystery School Ensemble - Soullous (6:38) 8 Rebirth Of Conscience - Bottom-Line-Sentiments (Vocal - Radio Edit) (4:44) 9 Sonic Generation - Funky Solution (5:07)
