Wednesday, December 17, 2014

Dove Plate Pressure



oddity stumbled across trawling YouTube

never heard of the label or the artist

groanworthy pun on Dubplate and Doves there

samples from LFO and Holy Ghost Inc

label nod to Nasty V and the Don FM Crew

even the chaff of this era is treasurable

oh lookee here, Dove Recordings is the name of the label



how many other labels named themselves after a brand of E?

Well there was E, the Ibiza imprint, but that's generic

A small discography but rated by at least some

dude at Discogs opines:

This label, although relatively unknown, produced some of the ruffest tunes available in 1993, in my opinion. Using dark and atmospheric samples Crazee M managed to capture the spirit of the Darkside era brilliantly and i would recommend this label to anyone who likes Darkside hardcore. Customs + Excise Volume One and Genesis The Sequel / The Message in particular are two fine pieces of plastic, just dont listen to them in a darkened room will you!






like a junior Ibiza, i would say

Monday, December 15, 2014



via Blog to the Old Skool - a "live" PA by Rufige Cru, from November 1991, at a rave in Toronto - the most Anglophile rave scene in North America.

What a great find....

Although

1 / that's about as live as a group on Top of the Pops, they're just standing there jigging about in front of the keyboards while the tracks play!

 2/ Goldie's not that hot as an MC let's be honest.

Still, v. nice little historical document....

Now, I seem to recall there was a DJ set + interview floating about that Goldie and cru did on a Toronto radio station around that visit, as ambassadors for Reinforced...

Ah, here it is (cheers to Daze of Reality in comments for better hook-up than the broken into eight bits on Youtube i had before)






and the other seven instalments here

Wednesday, December 10, 2014

community radio at its best (you nutter)



Being a tape I made in the mid-Nineties of my favorite pirate-tape bits from the early-90s

Now the excerpt from Index FM (starts at 5.05 minutes in) is engraved in my heart and memory for all time on account of these two tunes:



The first time I ever did hear Foul Play - the start of a lifelong love affair




And very fond of this one too, which kicks the sequence off



Got all three on vinyl. But none of them has ever sounded as electrifying on their own as in this sequence,  even with the fucked-up mix between "It's Not Over" and "Living Lonely" - a classic case of "not in spite of, because of"



Sunday, December 7, 2014

RETROlogic (frankly my dear I do give a Damm)

Martin Damm, who made breakbeat, gabba and Krautkore tracks under the name Biochip C and about 27 other aliases has been rereleasing his classic 90s tunes in a EP series he's named Lost Memories, through an imprint called RETROlogic

This second EP was originally released by Force Inc in 1993.



(via Strictly NuSkool blog)

Don't think I ever interviewed Damm, which is a pity because he put out some blinding stuff, and so much of it.

The Biochip C stuff was great but I particularly liked his emissions under the alter-ego The Speedfreak


I think this LP on Shockwave was the first one I scooped up by him, when I was most taken with the whole idea of gabba / speedcore / terrorcore.









I mean, a double album of gabba - the guy had music pouring out of him!

He could turn his hand to any style, Martin  - for instance he did experimental / IDM / abstract techno stuff for Mille Plateaux as Steel  - although I don't recall being as taken by that identity as much as his more ludic romping hKore and hhhhhgabbah identities

As Biobreaks he did some wicked speedjungle tracks for Riot Beats



I wonder if he is considered, as he should be, part of the ancestry of breakcore?

His name (as Biobreaks) pops up in this review I did in 1995 of the Rough and Fast compilation (which follows on nicely from the discussion of the Two On One series in the previous post)

VARIOUS ARTISTS
ROUGH AND FAST
(Riot Beats) 
The Wire, 1995?

by Simon Reynolds

All my anxieties about jungle's upwardly-mobile drift
towards dubious concepts like 'musicality' and 'maturity'
seem to be on the verge of becoming horrendous reality.
You've got artists utilising 'real' musicians, punters who
(ap)praise tracks in terms of how 'clean' their production
is, and a burgeoning mutual admiration pact between the Mo'
Wax posse and the drum & bass intelligentsia. All the new
styles in what must now be termed post-jungle are ultra-
smooth and mellifluously mellow--from hardstep, with its
fussy hi-hat shuffle-beats and tastefully restrained soul-diva
passion, to the fusion-tinged serenity and long sustained
synth-tones of the LTJ Bukem school.  Don't get me wrong,
these developments are still generating astonishing music.
But sometimes you've got to wonder: whither jungle's mania,
madness, ruffness?

For that, you might look to the UK's 'happy hardcore'
scene, which has back-lashed to '92 in order to follow a
different path than that taken by drum & bass, i.e. fixating
on staccato synth-stabs, rush-activating piano riffs, helium-
shrill vocals and stomping 4/4 beats. Or you might check out
Germany's small but fervent breakbeat scene, as represented
on Rough and Fast.  Based around a handful of labels,
Germanic jungle has more of an explicitly political edge than
its British cousin.  Key figure Alec Empire of agit-tekno
combo Atari Teenage Riot released a jungle track called "Hunt
Down the Nazis" (appropriate given that jungle is all about
musical miscegenation and post-colonial cultural hybridity).

Doubtless by necessity, German jungle is less polished
and fluent than current UK fare, but in a way that only adds
to its raw appeal--there's a fierce inflexibility, an un-
swinging rigour, to the drum programming that's curiously
invigorating at a time when so much UK drum & bass verges on
fuzak-with-breakbeats.  Much of this comp harks back to
jungle's under-rated 'dark' phase of early 1993, when
hardcore producers were first messin' with fucked up rhythms
but the music still retained some relation to techno (Joey Beltram/Belgian brutalism style as opposed to trance).

And so DJ Moonraker's "Lion King" and Space Cube's "Dark
Dive" both let rip bass-blast synth-riffs, redolent of the
Frankfurt-based PCP label's brand of stormtrooper tekno,
amidst the jittery, shimmery breaks, while Roland 303
aciiied-squiggles are woven into the hyper-syncopated bustle
of Sonic Subjunkies' "Djungelstadt" and Dr Echo & DJ
Reverend's "Fine Style".  And on Doc Tom's "Moskito" there's
a terrific ear-searing synth-noise that, yup, sounds like a
squadron of mosquitos dive-bombing upon your flesh.

As with most non-Anglophone appropriations of Brit-pop
there's something slightly wrong-sounding about the results:
just check those names--Doc Tom, Sonic Subjunkies, Mental
Bombin, DJ Reverend. But the best tracks here--the
itchy'n'scratchy insectoid scrabble of Biobreaks' "May The
Funk Be With You", the prehensile rhythmic intricacies and
gamelan-textured percussion-rolls of Da Captains of Phuture's
"Legendary Flight"--suggest not just that the Krauts may soon
catch but with their UK forebears, but that jungle's next and
most interesting phase will involve regional hybrids across
the globe: G-funk junglism, Miami Bass'n'drum, Latin-
breakbeat, Scandinavian new complexity 'ardkore....