That's Life

If its music that makes you feel happy. If its music that brings out the freak in you. If its music that feels like home. If music spreads love and connects you to the people around you, then its just how music should be. That's what life is about. All content by George Ellis.

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Charlie - Spacer Woman - original HQ upload (1983)

mp3 https://www.amazon.co.uk/Spacer-Woman-Vocal/dp/B00E5D25B0 similar 1981 here - https://www.youtube.com/watch?v=esNGvvL6U1Y REMIX HERE SEE - Woman From Spa...

There’s been a real glut of Dark Entries releases of late, most notable the five stunning 12”s they realised earlier this week that covered a broad spectrum of 80’s synth lead disco, however it’s ‘Spacer Woman’ by Charlie that really stands out as a classic. A space age italo dance long song, ‘Spacer Woman’ is as nightmarish as it is dreamy. The gargling, crackling vocals play a huge part in creating the records eerie atmosphere, and the fact they are sung by the producer Maurizio Cavalieri’s wife only adds to the tracks identity as a true love song. The instrumental version on side B brings out the smooth tranquil synths and intergalactic sounds that glide throughout the song. A real timeless classic, that’s out of this world in every sense.

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Optimo Music Disco Plate Seven - Kiwi - ThrowDown 12" (sampler)

Optimo Music Disco Plate Seven - Kiwi - ThrowDown 12" A) ThrowDown (Club mix) AA) ThrowDown (Latin Freestyle mix) London’s Alex Warren, AKA Kiwi presents “ThrowDown”, a cover version of Carmen’s cul

Reissues are certainly hot property at the moment with Optimo, and for their seventh edition of their disco plate series Kiwi has been enlisted to put his spin on ‘Throw Down’, an electro classic that changes hands for steep prices on discogs. In doing so he creates two cover versions that revitalise the original, with side A’s original mix offering a cleaner and crisper version of Carmen’s original tune, whilst Side B’s Latin freestyle mix ups the ante with a rough and ragged 80’s throwback sound that changes pace constantly. Kiwi’s release often tends to be sporadic, but if he keeps producing like this hopefully we’ll see him thrown down more tunes sooner rather than later.  

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Selectors Podcast 009 - Cinema Royale

In the first week of September we’re heading to the beautiful scenery of Tisno, Croatia, to celebrate the first edition of Dekmantel Selectors. In the run up to the festival, we’ve launched a new temp

One the best podcasts i’ve heard in some time, near enough every song on it is an absolute gem!

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Digital Zandoli

Like many labels that specialise in the reissue game, Heavenly Sweetness’ success stems from their ability to capture a particular genre or era of music with such precision that you feel transported to the heart of that particular moment in musical history.

           Their latest compilation Digital Zandoli, which documents the Zouk and synth lead days of early 80’s West Indies, is no exception to this rule, providing a rich and diverse range of music with everything from disco and boogie to funk and lain, all with added boost of basic drum machines patterns and synthesizers.    

           The first few tracks all follow a similar slow-tempo dance vibe, with each track creating different concoctions of breezy Latin and calypso sounds with simplistic but punchy drum machines. As the record carries on however the tempo begins to shift, with ‘Mizik Nou’ by Milton and ‘Nou Ke Sa Enmew’ by Swanha Desvarieux providing the pinnacles of the record by shifting the geap up a notch. ‘Nou Ke Sa Enmew’ changes constantly between boogie and psych lead guitar rhythms creating a song that fuses all the elements that optimise the constantly changing sounds that Digital Zandoli offers. Mizik Nou again leans heavily on Boogie influences, but at a much faster tempo and with ringing synthesizers. It’s a song for all occasions, floating perfectly between all out club music and early afternoon beach atmospheres. As an LP it’s a perfect example of what makes a proper reissue compilation, it’s constantly full of surprises and always introducing you to wonderful new sounds.  

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AFRICA IS NOT A COUNTRY Africa Is Not A Country Volume 1 at Juno Records

Africa is not a Country is a label with a clear intention, to challenge the misguided categorising of all music form the African continent under ‘African music’ whilst also showcasing that there is diverse range of progressive dance music that matches the forward thinking dance scenes of the west.  

           This being said the anonymous artist or artists for each of these tracks has very much settled on drawing form mainly from the west of Africa, taking inspiration from highlife, juju and funk sounds that were and still remain popular through countries like Nigeria and Senegal and Ghana.

           Liquid Lagos is a dose of cosmic funk layered with psyche guitars chords, whilst standout tracks ‘Fuji’ is a rolling 303 floor filler that mixes its acid sounds with rolling drums that create track that’s a perfect blend of past and present dance sounds coming out of western Africa.

           The B sides simmer down somewhat, but still sound equally as good. ‘Listen to the beats of your heart’ is a modern spin on classic Nigerian Juju music of the late 50’s and early 60’s, whilst closing tune ‘Who own the land’ is a slow-groove protest song.

           It’s a wonderful exploration of the various textures and sounds that represent African’s variety across the continent, and hopefully we can expect more from them in the future.

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Sessions, by Prosperoh

3 track album

So far Parisian label Eveil Rocords have been somewhat difficult to nail down, such has been breath of their releases. Having only started in 2015, and with currently just 4 EP’s to their name, they still appear to be finding their voice, with EP’s ranging from the breezy hip-hop sounds of Petros to the colourful pop-psyche tracks from Abraxas.

            But it’s most recent record ‘Sessions’ by Prosperoh that changes the labels’ trajectory, leaving these previous genres behind and creating an EP that connects the dots between the darker sides of ambient and minimal techno. Not much is known about Prosperoh, real name Paul Helly, but according to Eveil records the tracks are taken from long lost hard-drives of his music. Each track takes a different path, although all are connected via a chilling undercurrent that stretches across the EP.

           ‘Dektri’ is a straight up dose of ambience, that effortlessly glides from start to finish keeping the mood mellow, whilst ‘Dekses’ explores a minimal and more dance heavy sound lead by sharp drums and sinister echoing synths. Final track ‘Dekdu’ however remains the overwhelming standout of the EP, combining the sounds of the first two tracks to create a song that sounds as warming as it does frosty. Lead again by minimal drum patterns, this blissful combination of wavy ambience and gritty techno creates a song that fits any number of moods, and like the rest of the EP evokes a truly intimate after hours’ vibe. It may be a startlingly different direction for Eveil reocrds, but if they keep producing music to this standard its likely we’ll see more of this sort of music in the future.

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PillowTalk - Love Addicted EP

Pillow talk have always succeeded in creating music with a soulfully seductive undertone, and this EP is no exception. Taken from the newly formed Crew Love Records, a label that was created to put out any new music formed under the Crew Love umbrella, ‘Love Addicted’ is a return to the esoteric deep house grooves that originally gained them recognition in 2011. It’s their first solo record since the release of their debut album ‘Je Ne Sais Quoi’ almost two years ago, and it’s clear that having returned from an album that heavily favoured their live set-up over out and out club tracks, they’re fully in the swing of once more creating dancefloor fillers.

           ‘Love Addicted’ is a delicious mid-tempo jam that slowly builds as it’s acidic bassline creeps in towards the end of the track, but its ‘Booty Rang’ on the B side where the 3-piece band really shine. It’s moody, muffled basslines make way for vocalist Sammy D to steal the show, with the enticing nature of his voice drawing you further and further into the song.

           It’s a sure sign that PillowTalk are intent on moving back into making songs that fill dancefloors again, and the Love Addicted EP is as much proof as you’re going need that these guys are capable of producing some of the most inventive, romantic dance tracks as you’re likely to find.

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Remembering I.K Dairo – the unofficial voice of independence

Isaiah Kehinde Dairo may well be a name that doesn’t have as much recognition these days compared to some of the bigger musical icons Africa has produced since the 1960’s, but without him it’s highly possible some of these stars may not have existed. Very few musicians can legitimately hold claim to having had as bigger influence on African music as Dairo, a man whose unorthodox approach to Nigerian Yoruba and juju music not only made these genres of music globally popular, but made African music across the entire continent a recognizable force. I.K Dairo was Africa’s first international star, and in gaining such popularity also became the unofficial voice of Nigerian independence during the 1960’s.  

           Like many people in Nigeria at the time, Dairo came from modest beginnings. Born in Offa in the North of Nigeria, Dairo first became hooked on playing music at a young age when his father made him his first drum. This would become his instrument of choice throughout his career, and heavily defined the percussive joyous sounds of the native juju music he would fall in love with.

           However, things would not initially work out to plan for the aspiring musician, and after his father’s retirement from carpentry in 1937 Dairo would leave Offa in search of work elsewhere. What followed was years of grafting and working job various jobs in order to get by, however he never gave up his passion for music, and is believed to have repeatedly built himself new drums whenever he would move to a new town.

           This journey would lead him to return to his Offa, and in doing so I.K Dairo finally was able to live his dreams of playing music professionally. In 1957 the band ‘Morning Star Orchestra’ was born. He quickly set about reinventing Juju music, introducing previously unknown elements such as accordions to his music whilst keeping it deeply rooted in his Yoruba Heritage. He was by no means an originator of the juju sound, but his ability to push it beyond its limits contributed to his success not only in Nigeria, but also remarkably his success abroad.  

           As people like Andrew C. Frankel of Graviton African Music Productions point out, I.K Dairo’s success almost paralleled the run-up to Nigeria’s independence in October 1960. His own brand of Juju music reflected the increasing optimism that surrounded people at the time. Dairo’s music captured the mood of Nigeria at the perfect time, and although his music never sought to have any direct political themes, the unity his music created made I.K Dairo the unofficial voice of independence in Nigeria.

            His meteoric rise away from Africa culminated in I.K Dairo being granted an MBE from Queen Elizabeth in 1963, the first ever African musician to do so. It was a truly symbolic moment showcasing just how far this extraordinary musician had come in such a short space of time. By this point his band had changed their name to ‘Blue Spots’, and their sound had paved the way for African musicians such as Fela Kuti and Sunny Ade to follow in his footsteps and make take their music abroad.

For more information check out the links below

http://www.rootsworld.com/rw/feature/dairo.html

http://www.mustrad.org.uk/articles/ikdairo.htm

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Låpsley - Operator (DJ Koze's Extended Disco Version)

Operator is taken from Låpsley's debut album Long Way Home: http://x-l.co/LWHxlstore Buy / Stream Operator (DJ Koze's Extended Disco Version) - http://x-l.co...

DJ Koze has always had an unrivalled ability to truly find real beauty in music. This has always been reflected in the songs he has remixed over the years, and 2016 has proved to be one of the most consistently fruitful he has had for some time, with remixes of Mano Le Tough’s ‘Energy Flow’ and Roman Flugel’s ‘9 Years’ for his own Pampa Compilation showing his second nature for injecting already near perfect songs with a final boost of gorgeousness.   

DJ Koze, real name Stefan Kozalla, said that “When I heard 'Operator' for the first time, I thought that it was unique and perfect and didn't need a remix at all… But what I could imagine was in fact a ten minute-lasting, slowly unwrapping-itself version in a Larry Levan style." This description couldn’t sum up the song better, a ten-minute journey through the eyes of Koze that does little to the original other than make it last for what feels a blissful eternity. It channels one legend in Larry Levan through a current legend in the making, and once the song is over you’ll find yourself rewinding to the beginning desperate to unwrap this gift of a song all over again. Its remixes like this, that will make many aspiring producers in decades to come want to channel DJ Koze through their work.

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Tramlines: 4 Tracks from the Weekend

Parliament – Give up the funk (tear the roof off the sucker)

The pinnacle of arguably the finest set of the weekend, George Clinton dropping this P-funk classic with the sun shining down really did tear the roof off the audience. Supported by a funked up backing band that included Amp Fiddler, the hits kept rolling as George and co got the crowd bouncing to the Funkadelic grooves that have given him such cult status. George Clinton was playing just a day after his 75th birthday. If I have anywhere near his level of energy and presence when I’m his age, I’ll be extremely lucky.  

Floorplan – Tell you no lie

The format of experiencing a DJ set can often feel so standardised that you begin to feel like you’ve seen everything that goes on behind the decks. Yet watching Robert Hood take to the stage to play back to back with his daughter was spectacular, and unlike anything I’ve ever experienced. The parent/child b2b has been around for a while (Kevin and Dantiez Saunderson for example) but the fluidity at which these two played was truly a stunning experience. Dropping his gospel-disco tinged hit ‘Tell you know lie’ from his latest album ‘Victorious’ was a true highlight, whipping the crowd into a collective out of body experience. Proof that even decades into his career, Robert Hood, and his daughter Lyric, are just getting started.

Barrington Levy – Here I Come

Craig Charles has gone from the relative success of his BBC 6 funk and soul show to a cult hero of UK nightclubs in what seems like a matter of months. He may have been dressed in a questionable fedora, but his track selection was on point, with ‘Here I Come’ evoking the loudest response of his set from the crowd.

Corrine Bailey Rae – Put Your Records on (Derrick Carter Edit)

In a room that felt like your old primary school gym, with a low crowd turnout and sound delays that make you hope the sound engineers haven’t quit their day jobs, you would be surprised to see one of your favourite sets of the weekend. But that’s exactly what Derrick Carter provided, and the clear look on his face that he was enjoying being there translated to the crowd, creating a unique atmosphere. His own rework of ‘Put your records on’ is a true example of a perfect edit, flipping not only the beat of Corrine Bailey Rae’s love song, but its meaning as well. It was a brilliant moment that really ignited the crowd.

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Pontchartrain - The Pontchartrain Edits RSD 2016

Whether through its array of multi-coloured vinyl, or its playful jazz tinged releases from the likes of Four Walls & Funky Jaws, Kolour LTD has always been, as it names suggests, a colourful and vibrant label.

This time round the labels RSD 2016 release looks to the past rather than the future, as Detroit producer Pontchartrain lends his talents for creating disco infused edits to the label, the results of which are as excellent as they are subtle. 

‘Every man’ twists the track originally recorded by Double Exposure, lopping and teasing out the funk driven guitars, whilst ‘I wish’ shifts the Stevie Wonder classic up a gear to create an edit that better suits a dance-floor, but doesn’t lose the soul and boisterous energy of the original.

Things get far more cosmic on the b side, with ‘Heart + Soul’ and Carrots + Beats’ both treading on the more lucid sides of disco. Carrots + Beats in particular stands out as a luscious and sensual reworking on an old italo-disco classic, and creates the sort of melodic disco vibes you would expect to hear in DJ Harvey’s sets.

It more than holds its own against the solid back catalogue of music from Kolour LTD, and like all good edits, it does a fantastic job of highlighting the elements of songs that make them so timeless.

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Every day is record store day!

That is the collective sound of record collectors, independent labels and now indeed many record stores coming together to voice their concerns over Record Store Day (RSD) on April 16.

Now in its ninth year, it has gone over the years from champion of music’s most celebrated format to the scourge of the independent labels it was set up to promote.

The argument of independent labels and store owners is that the major labels have hijacked the day, marginalising the smaller ones by clogging up pressing plants for up to six months beforehand with needless money-making pressings (this year’s Lynyrd Skynyrd live concert LP springs to mind) and that it has become an increasing chore to pester the RSD people to sort it out.

RSD started in 2008, kicked off by a Metallica concert in San Francisco (an irony in itself considering they are as far away from independent labels and shops as possible) and had, until recently, been growing in both popularity and record output – this year’s total reaching over 550 records split across around 250 labels.

But this has not stopped a backlash from the smaller labels and stores, who now see it as a cash-cow for the major labels.

Independent record labels Howling Owl and Sonic Cathedral kicked off the argument over RSD last year, pulling out of the event by releasing a joint 7” and a statement setting out their disagreements. Record Store Day, they said, had become “just another event in the annual music industry circus that begins with the BBC Sound Of… list and ends with the Mercury Prize, co-opted by major labels and used as another marketing stepping stone.”

In quite a crass manner the people behind RSD hit back, stating: “To make it clear, the purpose of Record Store Day is not to promote independent labels. It is to promote independent record shops (the clue is in the name),” which only added to the furore from fans, labels and stores alike.

The stores that RSD were clearly insistent were their main priority then too joined the RSD witch-hunt.

Berlin record store lynchpin OYE Records pulled out of this year’s event, stating the usual grievances about major labels and being unable to talk to RSD about what releases they could get into their store – so they couldn’t decide which records to stock, they were handed a list by RSD and that was that.

Alongside this, Peckham-based record stores YAM records and Do!! You!!! records are hosting their second annual anti-RSD, instead choosing to promote local artists and labels in the Peckham area of London.

To add to the party-pooper atmosphere, this year’s street party in Soho to celebrate RSD has been cancelled due to roadworks taking place, increasing the gloom now surrounding the event.

RSD has again remained resilient, and hit back by stating that four out of five releases are from independent labels and that it will once again have more than 200 participating stores in the UK alone.

As a customer, RSD can be a joyous day that is the focal point of your unexplainable love of records.

For record labels and stores however there is clearly an underbelly to this day that is slowly removing the romantic elements of record culture.

And let’s be honest, if people are turning up to stores this Saturday ambling for a James Bay picture disc, then the meaning of RSD truly has been lost.

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Crew Love - Based on a True Story

The sum of years of recording together, touring their ‘Based on a True Story’ parties across cities such as Miami, Barcelona and London, and just generally being as close a group of friends as your likely to see in music, the Crew Love album is one that has been long overdue, but is well worth the wait.

The Crew Love umbrella has now stretched to include 17 members across the various DJ and bands platforms they occupy, with all artists having contributed, either individually or collaboratively to the album, with some tracks simply labelled as Crew Love. Whereas it may not be strictly right to assume that 17 artists physically contributed to a single song, it is testament to how the group appears to value each member’s sheer presence as having a positive effect on the music.      

The whole album is essentially a constant reinforcement of the crews already signature sound, merging the funkiest elements of their biggest influences with nostalgic dance to create music that operates outside of any decade or period of time. Opening Track ‘Smokers Delight’ is a blissful 90’s R&B throwback combined with distorted lyrics to create a perfect opener for the album, whilst ‘Hella Rigorous’ is Tanner Ross and Navid Izadi’s ode to the sleazy G funk rhythms of the early 90’s combined with the repetitive patterns you find in dance music. Tracks like these demonstrate The Crew’s innate ability to create music for the future whilst always making sure to pay their respects to the past.

Tracks like ‘Hypnogogic Light’ resembles the more lucid and psychedelic sides of the Crew Love sound. Produced by Lonely C of Soul Clap, it bares similarities to that on the duos Original DJ Kicks track also titled ‘Lonely C’, and represents the darker sides of hallucinogenic music, much like Maggot Brain was to Funkadelic.

There will be little to argue against ‘Love Train’, written by Crew Love lynchpins Soul Clap and Pillow Talk as being the standout of the bunch, as you couldn’t write a song that sums up the collective better if you tried. Melodic piano chords and simplistic yet beautiful baselines act as the perfect undertone for Sammy D of Pillow Talk’s powerful vocals “It was True love, it was crew love, it was all a family.” It’s a masterfully crafted record that will surely stand the test of time as true classic dance record.     

For those who are already familiar with the Crew Love sound this album won’t offer anything particularly new, but will rank as a collective highlight for all the artists. For people less familiar with their sound this album sits as the best possible introduction into what exactly they are about. It is an album that perfectly reflects Crew Love vibe, and the future directions of dance music. Just like everyone in the Crew, this album has love at its very core.  

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ILM - Independent Label Market Easter 2016

Two things were apparent from the moment you stepped into Spitalfields market for 2016’s first instalment of the independent label market. The first was the wonderful sense of community you got just from wandering round and absorbing the atmosphere around the market. The second was how just how lackadaisical the event felt upon entry. I had arrived about ten minutes before it was due to start, expecting a hoard of vinyl junkies waiting for the pistol to be fired into the air so they could start their digging amidst the numerous stalls of 12” repress’, limited edition white labels, and discounted LP’s. What I encountered instead was a vibe, so calm and relaxing that at the 11am opening some stalls still hadn’t turned up.

Contrary to my thoughts prior to turning up, I was able to waltz gleefully and starry-eyed through the spacious crowds of relaxed record shoppers; chatting to the stall owners and picking out the records I’d been searching for; it was heaven.  

Personal highlights for me were being able to pick up Mark Pritchard and Marcellus Pittman’s’ slow burning percussive remixes of Vendetta by Far Out Monster Disco Orchestra (the final retailing copy so I was told) and the Barbara Mason 7” from Athens of North. Being completely out of stock online, the record is already fetching upwards of £30 on discogs, so it was met with a lot of fanfare from customers passing by as they were able to pick up brand new copies for just £10.

As I left many many hours later it was easy to see why, as one store owner told me, the market has grown so massively over the last year. With good people, good records, and (thanks to the Brewers market) good beer, there wasn’t a single element of this not to love. As soon as I got home and began playing the records I’d bought, I knew straight away that the gaping hole I’d burnt in my pocket was money truly well spent.

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Shag Edits Vol. 5 - Roots for Bloom

Now into it’s 5th instalment, Roots for bloom label boss Jamie Trench continues The Shag Edits fine output of deep rhythmic disco and house edits with four more tracks sure to please those already familiar with the labels previous work.

Like the previous four edits before it, Jamie Trench himself brings the EP’s biggest and best tune in ‘Where the Party At’, a track which flirts throughout with early 90’s hip hop and consists of Jamie’s style for creating edits with sharp vocals and jittery tempo change. This is a tempo upheld by Reece Johnson for the second track, a song consisting of catchy gospel vocals over traditional upbeat chords that mark any 80’s disco tune worth its salt.  

Side B starts with a far slower track from J Morrison. ‘Brown’s eyes’ captures the same groovy mood of the A sides, but with James Brown’s unmistakable voice strutting across the record, retains a real level of funk about it compared to its predecessors. Closing Track ‘BING!’ ends on a softer note for the EP, combining soft vocals with an even softer acidic synth.

Overall it’s a fine continuation in the shag edits series, that shows that in industry increasingly saturated by disco edit labels, Jamie Trench is still cut above the rest.        

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Disco Halal - Vol. 4

It seems strange to think that Disco Halal’s first release was just under a year ago, with their rise in that time displaying just how good the quality of their releases has been. Based in Berlin, the label owner Moscoman has developed a solid following for his label, based around the discovery and reinterpreting of forgotten middle eastern gems in order to make them suited for dance floors worldwide. This EP sees Disco Halal venture even further, and delve this time into the depths of Brazil to uncover the rhythmic tribal-like sounds of 60’s and 70’s Brazil.  

Like the first three EP’s released by the label, the tracks appear to follow a particular format. Side A’s ‘Vendre’ provides the most classically dance worthy tune on the EP, providing a track that would nestle in perfectly across many the worlds best open air, spacious dance floors. It has a deep, slow-burning bass that combines well with the soft vocals to create a really beautiful and atmospheric vibe. The remix of this track that follows retains Vendre’s atmospheric aura, and indeed is probably the most dance friendly track of the lot, but it falters by removing a lot of the musical nostalgia that makes the original such a memorable tune.

B side ‘Ossain’ provides the highlight of the EP. It’s a track laced with repetitive rhythmic chants, and looped guitar riffs that display the obscure and gorgeous sounds Disco Halal has such a knack for uncovering. The final track ‘Dengo’ is another example of this, a tropical tune that mixes catchy baselines with distinctive sounds of cowbells to create a far funkier sound than the previous tracks.

 It’s Disco Halal at their very best, bringing dance music of a very different context to a modern audience, and really challenging what dance music really means to us.  

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Jacob Mafuleni & Gary Gritness - Atuka Mhondoro 808 (Club Edit) (STW Premiere)

808 rhythms combine with the traditional sounds of Zimbabwe. Out on @nyami-nyami-records. Read more & buy: http://www.stampthewax.com/2016/03/03/premiere-jacob-mafuleni-gary-gritness-atuka-mhondoro-

Stamp the Wax at it again