Saturday, October 12, 2019

lover's rock (slight re-return)

Kofi's first group - and Caron Wheeler's too

on the actual Lover's Rock label

One of the later Brown Sugar singles, there's another group on the flipside, doing this song - which I half thought would be some kind of oblique inspiration to PiL's "Albatross", but it turns out to be a cover of the (early, Peter Green era) Fleetwood Mac hit!

And same side of the 7 inch also features this nice Brown Sugar version of Deniece Williams's "Free"

Any excuse to play this gorgeous Kofi tune again - and the excuse is the fact-tidbit that in addition to vocalling she also played the bass on it

Tuesday, October 8, 2019

lovers (slight return)





Kof-i (in person)


Sunday, October 6, 2019

echoes of deaf journalists

"Simon, don't give them any good reviews, until they've paid their ads..."

no really, that's the first line of the song - rather taking me aback!

i assume aimed at someone who wrote for  Black Echoes back in the day

possibly [darts to Wiki] reggae writer and photographer Simon Buckland?

it's a bit of a heavy-handed satire

and (whisper it) although not "a load of old rubbish", not one of the Prof's finest moments

Friday, October 4, 2019

rub a dub

hardcore 'n' rave revenants

postscript 10/7/2019

later re-revenant revisitations

semantically connected (ardkore)

postscript Oct 7
Spiro in comments points out another rub-a-dubby ardkore tune

semantically connected (80s dancehall)

Sunday, September 29, 2019

can't beat the system go with the flow


October 1 update:

Ian in Comments points out another sample-source (for the "now you know" bit)

the remix

rewind (remaster)


Friday, September 20, 2019

exploding diva-bliss

luv luv luv this particular vibe - bliss-2-dark - ecstasy edging into the panic-rush

late 1992 - 1993 - early 1994 are the temporal coordinates

[late addition via Sadmanbarty Dissensus thread on technological abstractions of the human voice)

happy hardcore continues the divas but the sense of shattering -  a dangerous excess - has left the music, leaving just fastbounce

meanwhile the ambient jungle carries on deploying divas - beautifully, but it's more exquisitely done,  in the classy style of all that Masters of Work type house

perhaps cos it's no longer pitched-up, but timestretched so it sounds more like proper singing, properly human

whereas the stuff that E-lectrifies, transfixes,  is the "closer to fireworks than soul" stuff

these would be cusp works on the edge between diva-distress and nu-smooth

Wednesday, September 18, 2019

get on up like a faxmachine

a Pink Floyd reference and a James Brown reference in a single song

chugging Euroteknohaus that i'd never heard until this moment

yet i'm not honestly sure i've heard this classic before either, somehow

or this either

love the artist's real name - Aad de Mooy

Saturday, August 24, 2019

this is my tune

Dug out this Lovers Rock comp made ages ago by my dj pal Paul Kennedy and was reminded how lovely this song is by The Cool Notes

and also by how uncannily it sounds like Saint Etienne (or rather I should say, how uncannily Saint Etienne sound like it  - in some of their earlier modes at any rate, Foxbase Alpha time particularly)

almost to the point where I'm wondering if Cracknell and the boys covered it

Love that synth solo -  so delicate and filigreed it almost sounds like guitar (and in fact is twined around a guitar solo, doubling the effect)

Dub is nice too

The lyric to  "My Tune" would have fit well with the songs-about-songs, meta-music interblog challenge of 2015 - the singer / group's evident pride in her / their creation... self-reflexively celebrating the seduction-by-hook of the consumer's ear and the fan's inevitable purchase of the delectable product .... a record that enacts its own promise  (shame it wasn't a hit) 

The title "My Tune" could also lend itself to a quite different lyric, written from the consumer / fan perspective - about that feeling you can have with pop songs (or any kind of songs - dance anthems, etc), that this song was made just for you, that is belongs to you - so snugly does it dovetail with your desire, so uncannily attuned it is to your particular audio-erogenous zones

(Well, The Cool Notes tune does contain that idea in the line "I wrote it for the people, I wrote it for you" - but here the addressee is the massive, it's "you" second-person plural i think - as in the earlier line "I write the tunes that you dance to in the blues". The word "blues" itself being uncommon parlance suggests the idea of social ownership of the song)

But yeah when a song on the radio possesses you, takes over your life,  it is like falling in love - that same feeling of extreme fortune and blessing, that heaven-sent matching 

I feel like there is already a song, or possibly many songs, out there that are about just this feeling -  a need miraculously met, the pop song as a personalised transmission....  

it's rather like the way certain stars when performing onstage can seem to meet each fan's gaze .... or how very charismatic persons, in the interview situation or the glad-handing meet-and-greet situation, reputedly can make you feel like you're the only person in the room, that you have ALL of their attention

but this-is-MY-tune also makes me think of the more disordered, hallucinatory regions of fan feeling  and fan-thought (as documented in the Vermorels's Starlust) where the star seems to be speaking directly to the fan, sending them secret messages, coded clues... the eyes in the poster on the bedroom wall piercing deep into you

While we're loving the lover's rock, here's another dreamsong about the dance of desire

postscript 8/25

Ian S in comments points out this rave versioning of Janet Kay

Fernando Ramirez Ruiz nominates Indeep's "Last Night a DJ Saved My Life" as belonging to song-as-salvation self-reflexivity syndrome

Thursday, August 22, 2019

mystery bliss 1 & 2

thieves the gaseous-bliss diva from "Sound of Eden", makes even gassier-blissier use of it

stumbled on this by chance and realised it's one of a big batch of mystery trax   - result! - that i never got around to turning into videoclips so's the massive could help identify them

here's one the massive helped me with before


what do you think, shall I finally do the remaining 25 tunes for the trackheads to ID?

Monday, August 19, 2019

"ardcore? are you sure?"

ad for Music Power Records, Haringey!

and the full ad break from Pulse FM June 28th 1992 (half way through Adrian H & MJ)

via Deep Inside the Oldskool, which has the whole Adrian H & MJ set

via this cache of pirate tapes (c/o Mikus Musik)
a Pulse FM show by Chris Simon who co-ran Music Power Records

even more Pulse-ating power

Sunday, August 18, 2019


sometimes think this is the greatest hardcore track of all time - dark, blissy, dubby, delirious

knew one of its sources was this excellent Sweet Exorcist album track

did not know another was this

also seems unlikely there is an EP that's better than that Rufige 4-tracker

mind you the Metalheads EP with "Terminator", "Knowledge", "Sinister" and "Kemistry" is pretty fucking stunning

the best three in a row in all of H-core? Darkrider EP, Terminator EP, Angel

the only ones close are Foul Play (Vol. 2, Finest Illusion, Vol.3) and Omni (Mystic Stepper, Renegade Snares, Vol. 4)

Tuesday, August 13, 2019


trope reached earlier (1991) than the famous and supreme example (1995)

other notable nuum slaves

bit of Grace there via the musique concrete-y psycho-acapella track on the Slave to the Rhythm album

have i ever heard this super long 12 inch version of 'Slave to the Rhythm'? I'm really not sure

any more notable "slaves" in the rave-dance-disco-house realm?

postscript 8/14 

Ian S in Comments points out these examples:

he mentions a "slave" thematic to this but I can't hear it

Thursday, August 8, 2019

mashing up history

check the slogan on the label of this version of the original Jem 77 tune -
"Proper Bloodclaart Pirate Radio Bizness"

this other recent Rave 2 the Grave tune is better than the Jem 77/Cubic 22 one I think

of course there were tracks that were effectively mash-ups  -  aka rip-offs - happening in real-time back in the old skool days. i can't think of any examples off the top, but there were quite a few that were composites of existing killer tunes.

This Mickeybeam75 chappie is slinging this kind of thing up there, along with a lot of high-quality uploads of original-era tunes

this one - not a mash up but a new-old tune -  is quite devastating, beats and bass-wise. really like it

Here's the whole Wetman  EP on Vivid

Funny title

This is an earlier EP by Wetman

Monday, July 29, 2019

Pearsall mix of salvage junglizm 94-95 - never released at the time tunes now vinylized

tearing mix from Man like Randall H

Mix rationale:

"One of the things that has delighted me in recent years has been the amazing revival of jungle music from producers new and old; along with this explosion of fresh jungle there has also been a very exciting trend towards ancient dubplates from the golden era finally getting proper releases. So for this, the ninth edition of my Get It series of mixes of recent(ish) vinyl releases, I am very excited to pull together 15 tracks that were until recently only on dubplate or on extremely limited and rare pressings. This mix covers everything from mellow rollers to aquatic tearouts LTJ Bukem-style to full-fledged ragga mayhem and dark steppers. Enjoy!

Check out the other Get It mixes:

Check out more old skool jungle:

Mixed in Berlin, July 2019
100% Vinyl"

Update 8/5 - Pearsall's blog post on unreleased dubplates and the reissue labels specialising in them

"Sometimes dubplates functioned as a means for producers to road test new productions – getting a trusted dj like Grooverider or Randall to play it out and report back on the crowd’s reaction. At other times dubplates were unique versions of tracks that were literally created as secret weapons for big name dj’s, for example a special remix that only that one dj might have.

Hard as it is to imagine today, back in the 90’s there was so much mystery around this music – you would go to a rave or a club night and hear track after track after track that were simply not available to buy, and might not be available for months or even years. In this situation, if you heard something that blew your mind and wanted to hear it again, often your only option was to go see that dj again and hope they played it, or buy the tape pack from the event.

Dubplate culture was one of the key elements behind the incredible speed at which rave music evolved from through the 1990’s...  The dj’s and producers were constantly trying to upstage each other, and dubplates allowed new music to be played to ravers within days or even hours of being finished – no need to wait for labels or pressing plants or distributors or shops. Finish the track, get the DAT to a dj, they take it to Music House and have it cut, and it can go on the decks at a gig that night.

One of the side effects of this dubplate culture was, however, the fact that a lot of amazing tunes simply never came out. They were stuck on dubplate for many reasons – couldn’t fit into release schedules, artists and labels couldn’t reach a financial agreement, or the label owner(s) decided that the sound had simply moved on. Sometimes it was as simple as the original DAT being lost and no copies existing!

So for jungle fanatics, the years since 94/95 have been marked by the knowledge that there was a huge secondary catalogue of music that was only available to the public via low-quality recordings from raves and pirate radio...."


01. Dave Charlesworth - Guinness Track (ADR)
02. Simon 'Bassline' Smith - Oh Yeah (Deep Jungle)
03. J Majik - Telepathic (Deep Jungle)
04. The Invisible Man - Drifting (Drumtrip)
05. Equinox - Badman Style (Scientific Wax Retro)
06. Bizzy B & DJ DLux - Classic (Existence Is Resistance)
07. Bay B Kane - Cupid (Spandangle Selection)
08. DJ Nut Nut - You Can Do It (Deep Jungle / 8205 Recordings)
09. DJ Stretch - W (Dubplate Mix) (AKO Arcade)
10. Tom & Jerry - Bring Ya Dub VIP (AKO Arcade)
11. Bones & Natty - Thunder (Foxy Jangle)
12. Q Project - Champion Sound (Unofficial '95 Bootleg Mix) (Sublogic)
13. DJ Crystl - The Dark Crystl VIP (Hardcore Junglism)
14. DJ Renegade - What's Happening? (8205 Recordings)
15. Dillinja - You (Dom & Roland Productions)

bit of nookie

Wednesday, July 17, 2019

the beauty of Beverley

Six things I have in common with Beverley Craven

1/ Born in the summer of 1963 
(July for her; June for me)

2/ A connection with Ceylon / Sri Lanka 
(Her dad worked there and it's where she was born; my dad spent his childhood there, I grew up hearing many tales about Kandy and Colombo, still have quite a few Sinhalese relatives scattered around the globe) 

3/ We both grew up in Berkhamsted and went to school there
(I was at the local boys-only public school; she would have been 2 years above my younger brother Tim at Ashlyns, the state school; before that she went to Bridgewater middle school, just up the road from our house, at 113 Bridgewater Rd, so I have almost certainly walked past her, or seen her walking past.. ) (She also once worked at luxury health resort Champneys,  right next to door where my friend Dudlyke lived) (She still lives in that Hertfordshire / Buckinghamshire border zone).

4/ Both have a connection with the Yorkshire Dales

5/ Both cancer survivors

6/ Finally  (and this is why this post is on EnergyFlashblog) we both intersect with rave culture. 

In Beverley's case, the connection is not of her choosing - indeed it's possible, if unlikely, that she's unaware of it. 

"Promise Me", her big hit -  No. 3 in May 1990 - is a pretty-enough, rather old-fashioned ballad.  The sampling wizards of Orca skip the sappy chorus and home in on a pearly wisp of melody and sunburst singing in the verse  (heard first at 1.01 in "4 AM")

"It's four o' clock in the morning and it's starting to get light" - absolutely top detournement of a love ballad lyric to describe a rhapsodic rave moment, there.

As is another line that Orca (forgive me) reporpoise: "you look like you're in another world"

In "Promise Me", the "look like you're in another world" is about the male lover - who's distracted, distant, emotionally unavailable to the yearning girl singing the song 

In "4 AM", "in another world" is the sea of shining eyes and the dancefloor dreamspace, from which we are to be too-soon expelled, into the gray light of the morning... back to  ordinary life and the inevitable comedown... 

On Lucky Spin records, "4 AM" was a huge tune in 1993.... I picked it up some years ago, by which time twas tad pricey.  

(For a while, I thought the the artist was called Pure White. Seems that was name of a Lucky Spin sub-label).

The not-quite-as-good remixes

This one is ruff and junglistic, but I still prefer the original

Nothing else I've heard by Orca comes close to "4 AM", despite promising titles e.g. the two Dances with Dolphins EPs...  "Pure Bliss" ,"Underwater Science", "Sky Hook". It's good, solid stuff, in that happy-dark zone, getting ruffer, then getting wafty (titles like "Intalect", ooer), then getting technical

However one of Orca - Darren Beale - had various other aliases (Koda... also Psykus, with his Orca-mate Kristian Towsend... quite a few others). One of these aliases was Acro, as in the great "Superpod" which continues the cetacean obsession with its name (pod being a tribe of dolphins) and use of dolphin sounds. 

Fab rmx, getting well tech-itchy in a Photekky way but not losing the bliss

slow on the uptake today, just twigged that Acro  = Orca backwards!

i shall have to do a proper trawl through the whole alias-cluster uuuurv at some point.  

Back to Bev...
Craven cites among her influences Kate Bush and Judie Tzuke, but I don't hear much Bush, apart from the piano, whereas I do hear a lot of Tzuke - especially "Promise Me", which has a similar scenario and yearny, needy, feminine-fluttery quality to Tzuke's one hit "Stay With Me Til Dawn"

Look at this period-piece promo, which (possibly an artifact of the lighting and/or the aging of the video format) makes her look like a painting that come to life. 


"Stay With Me Till Dawn" got repurposed itself, at the dawn of the Nineties, by Ultramarine, on the gorgeous "Honey", which turns around the "need you tonight" bit of the pre-chorus 

Well what do you know, from just last year, Beverlee and Judee (and Julee) team up for a single  

two singles 

actually a whole album / tour

also a joint performance of "Promise Me" on the telly 

Home Counties soul

Another Bev chartsong, albeit only just barely a hit really

There are other AOR lady / Brit female singer-songwriters who have been rave-ransacked of course, notably the lovely "Sleeping Satellite" by Tasmin Archer. 

I guess that style of AOR is an alternative source for yearning, soaring vocals, from the more usual soul / R&B/ house diva stockpile. 

I wonder why there was never a rave version of "Constant Craving"

Well fancy that

addendum 7/18

Pointed out by anonymous commenter, another dance treatment of the "it's four o'clock in the morning and it's starting to get light" Bev-sample - rather nice too

Meant to say also that in my mind I always bracket Orca's "4 AM" alongside this wonderful tune "Blow Out Pt II" aka "You've Had It, You've Had It All, Boy"

Must "do" Bass Selective properly one of these days...

And also alongside this tune by DJ Massive

"4AM", "Blow Out Pt. 11", "Ruff in the Comfort Zone"  - a little cluster of  junglistic but luvdup  diva bliss anthems that walk that underground / pop line and stick together in my memory

addendum 7/19

Ian S in Comments points out that Bay B Kane sampled Ms Tzuke also  - from "Ladies Night", off the same album as "Stay With Me Till Dawn"

Here is an in-depth breakdown of the making of the Bay B Kane track from God Is No Longer A DJ

Saturday, July 13, 2019

Old Bill Dutty Babylon

I've said before, a bunch of times, that "Cockney Translation" - Smiley Culture's 1984 debut single - is an important moment in the prehistory of the nuum. Not musically, but because its comparison of black and white slanguage, seems to herald an emerging hybrid youth identity that would blossom in the Nineties with jungle and UKG  -  complete with its own black-white accent where you can't tell the race of the speaker by the sound alone (if you happened to be sitting a few rows ahead of them in the bus, say).

I've said it frequently enough, that it's actually referenced in the Wikipedia entry on Smiley Culture

Well, here's a nice little confirmation of the thesis -  "Marked Up" a jungle track by Psycho & Mr Man (alter-ego of the mighty S.M.F. - Jason Verrall and Peter Hudson) that pinpoints and pivots around a crucial juxtaposition in Smiley's lyric: "Old Bill / Dutty Babylon".

Black and white unite, against a common enemy.

In this song, Smiley's fame allows him to bypass systemic oppressions (a sweet fable that has a sad sour aftertang now given his demise).

Flipside of "Marked Up" also cool.

One day I will have to do the S.M.F. urrrv properly

For now, a tune by them that blew my mind when I heard it on the pirates in early 93

one of those can't believe people make sounds like these" moments

especially when the mad "Strong Island"-like noise comes in about 2.30

even more so when the insane stab riff slash smear shred noise comes in at  3.42 -  "vhs tape all wound up and tangled. a flailing laviathon made out of dial up sound"(Sadmanbarty).

Thursday, June 27, 2019

stepping to the front in '95 - DJ SS + Formation

in sideways tribute to Man like Droid's Dissensus thread which argues for 1995 as jungle's imperial phase -  when jungle was most like itself and unlike anything else, as he puts it -  and strews many, many gems to prove the peak-year thesis... here is a vintage '95 featurette about one of that year's most imperial producers plus an album review of a compilation of the cream from his label Formation. 

Melody Maker, 1995
by Simon Reynolds
1995 was a banner year for DJ SS. 25 year old Leroy Small dropped a bomb-load of  monster tunes-- "Hearing Is Believing", "The Lighter", "Smoker's Rhythm", "The Rollidge", "95 Rampage"-- that tore up the hardstep dancefloor.

Then again, there's never really been a slow year for SS. He's been at the frontline of  hardcore since 1991, both as co-founder of Leicester-based hardcore label Formation and as a prolific tunesmith operating under myriad aliases (Sounds of The Future, International Rude Boys, Rhythm For Reasons, MA1 and MA2, etc). As Formation's in-house producer, he's had a hand in all but 5 out of the 65 releases to date.

SS started DJ-ing at the age of 13, working his way up through school discos, soul, hip hop, early house, in a "natural progression" that took him to hardcore rave. "In the rave scene I saw so many hooligans I knew that were happy and dancing". This rave-revelation co-incided with SS's alienation from hip hop: the British rap crews weren't really happening, while "Public Enemy and NWA were preaching the wrong things, harking on about past crimes against black people, captivating the audience in the wrong way. Recently I've got back into the more groovy stuff in rap, like Wu Tang Clan, and I've always had hip hop flavour in my music, with the breakbeats. But I don't like the gangsta element, that's too like the ragga gunshot thing".

Ragga-jungle is something that Formation have consciously distanced themselves from. "In '94, the ragga thing was big but I wasn't  into it. I took the basslines and a stab of ragga vocal but I refused to do a full-on ragga chat over my tracks". SS doesn't like the vibe ragga creates. "Jungle just got too dark, too intimidating. There's been a lot of trouble in the Midlands, shootings. People don't want to worry about treading on someone's toes or giving someone a funny look. It's the promoters' fault, they should bar them kind of people from coming to their clubs, but they're just interested in money. DJ's and producers are to blame too, for putting gunshots in tracks."

Definitely no gunshots, then, but boombastic B-lines, eerily warped vocals, portentous hunting-horns and shlocky intros of classical music all figure as hallmarks of SS's style. "Hearing Is Believing Remix" and "Rollers' Convention", in particular, brilliantly reconciled avant-garde edge with crowdpleasing groove-power. As such, SS is a prime exponent of 'hardstep', Grooverider's term for the purist drum & bass style that cuts a middle path between rudeboy ragga and 'intelligent'. "Hardstep's got no ragga in it, but people step hard to it," says SS. "See, my only qualms about intelligent is that musically it's wicked but often it's sounds weak on the dancefloor. Formation tracks have got to be rolling." As his hardstep peers, SS gives the nod to Roni Size & Krust,  Dillinja, Hype, Andy C, Pascal, and Ray Keith ("his stuff is so simple, but it works!").

That said, SS is looking for Formation to get more "musical" next year, with real vocals and songs, as with the forthcoming cover version of "Free".  "People buying our stuff know what they're getting, we've got a little predictable and it's time for a change". Okay, but don't get too 'musical', SS, please! Because right now Formation have hit their stride with a perfect blend of complexity and minimalism, which can be heard on  Highly Recommended, a compilation that revisits and drastically remixes highlights from the label's brilliant '95. 

"Highly Recommended" is out now on Formation, new SS tunes "Free" and "Sense of Direction" are set for early 1996 release. SS's remix of DJ Krust's "Set Speed" is out now on V Recordings.

Melody Maker, 1995
by Simon Reynolds

DJ SS, in-house producer of Leicester's Formation label, is one of jungle's
most undersung figures. 1995 was a banner year for both SS and Formation. They
dominated the drum & bass dancefloor with a series of killa trax--MA2's "Hearing
Is Believing", Sounds of The Future's "The Lighter", SS's "Rollidge" and In
Between The Lines' "95 Rampage"--all SS-produced, and all revisited/revamped on
Highly Recommended.

"Lighter" starts daftly with the rinky-dinky melancholia of top classical
piano tune "Fur Elise" (better known as "Theme From 'Love Story'"), then drops
into a ragga-tastic swagger and pummel; the VIP remix injects a feverish stutter
and stammer into the rude-boy "lighter!!" chant. The LP mix of "Hearing Is
Believing" adds a squelchy bass-drone that mimics or maybe even samples "Public
Enemy Number One" from PE's debut album. The original's portentous
hunting-horn fanfares are timestretched so they wilt and waver like Salvador
Dali's melting clocks, while the irresistibly surging bass-flow has been
displaced by a metallic, sproinggg-ing B-line, like a bouncing, giant-sized ball-

The revamp of "Rollidge" is astonishing; the breakbeats ripple and undulate
like they've been liquidified, and the original's reversed-diva is slowed and
processed 'til it's like a baritone drowning in the bath.

Even more startling are the voice treatments on "95 Rampage", where the diva-vocal is extruded into a long thin streak of laser-intense light, then a single syllable is isolated and
oscillated into a spasming percussive tattoo. 

Less familiar tunes are also given a vicious going-over.  Black's awesome VIP Mix of "Black" features some ear-confounding dub-FX--a snatch of MC chatter is shattered into syllables, each
of which is scattered through a sonic hall-of-mirrors.

While 'intelligent' drum & bass (Goldie, Photek et al) seduced the ears of
non-junglists and music press readers, Highly Recommended is an essential(ist)
document of where the real action was in jungle '95, i.e. the purist
strain of drum & bass known as 'hardstep'.  This compilation's title says it all.


Scattering of gems from the Formation / SS back pages

Formation tunes feature heavily on this great DB selected-and-mixed compilation of 1994 as one of the UK's  Big Five hardcore/jungle labels alongside Moving Shadow, Suburban Base, Reinforced, and Production House

Tuesday, June 25, 2019

only you slow down (donut is a feeling)

this lovely slice of smoov-jungle

has the same gorgeous mellow house-infused vibe as this even lovelier tune - one of my all-time absolute faves of the era  - so slinky

And as if recognising the vibe-ual affinity, YouTube segued straight into it before I even made the selection myself

Met Gavin Cheung aka Nookie early in '94 -  round at Goldie's England's Lane tower block flat

Immortal for this tune above all  - another all-time fave

"you know House is a feeling"

Keeping the house ancestry alive within the hardcore and the junglizm - that was his thing, Nookie / Cloud 9

But he also did tunes like this - whence the "hardcoouooor" whimper-vocal as used in Mark Leckey's Fiorrucci Made Me Hardcore - although he might have got from another track that used it, I think there were several....

And this goofy one

Never noticed before that the daft vocal lick is human beatboxing

Man like Gavin could do that bliss-2-dark distraught-diva ecstasy-edging-dysphoria hectic-histrionic fever rather well

But lover's jungle (perhaps that's why he chose the alter-ego Nookie) was his forte

Did a lot of very nice piano-based tunes that are just a little bit too uplifting maybe

That one is faultless though.

Remodelled for 94

These are a bit too bright 'n bouncy

Ooh but this next one is a classic - and gets the balance just right

And he weren't just about the pianos - the breaks on this are awesome

I suppose he's only a notch or two behind Omni Trio when it comes to the piano-uplift style of jungle.

Rob Haigh's vamps are just a little more bittersweet, more fleeting and spare. Nookie's a little too florid at times.

Here's a great mindmeld of the two piano-core gods - fabulous Nookie remix of Omni's "Soul Promenade", with a great push-me, pull-you swaying rhythm

Of course he actually done a tune called "A Drum A Bass A Piano"  - shades of the Red Crayola tracklisting for Coconut Hotel, demystifying their means of production or something

I like the fact that an early Nookie alter-ego was Windy Milla

Also like the way the bpm actually written after the track titles on this one - DJ friendly!

Ooh some very early indeed Cloud 9

sampled from Scientist / Jackie Mittoo?

Monday, June 24, 2019

mother's little helper

Two songs about a housewife zonked out on tranquilizers

The Orbital video falls into that category of videos for blisstastic euphoric dance songs that undermine the vibe totally (see also the Jonz video for "Praise You" by F.Slim)

The whole of Other Channels is a concept album about a housewife woozy on anti-depressant and anti-anxiety meds watching TV through a glassy-eyed haze.

Other songs on this theme:

Rolling Stones "Mother's Little Helper"

The Fall  "Rowche Rumble", "Industrial Estate" ("when you get depressed, get some valium" or lyrics to that effect), and (to an extent) "Underground Medecin"

And then there's a lot of recent rap that's about percoset and xanax of course

Bristol Pirates

Cassette edition of Death Is Not The End's contribution to the Blowing Up The Workshop mix series. 

"A trip across the frequencies of Bristol's pirate radio stations via cut-ups of broadcasts, taken from the late 1980s to the early 2000s ~ also a love-letter to my childhood, an audio document of the years I spent growing up in the city."

[via Jon Dale]

Sunday, June 23, 2019

"MDMA sucks!"

 from the Techno Sucks, Vol 1 EP by Lunatic Asylum, aka Guillaume Leroux

aka Dr Macabre

aka Renegade Legion

"Torsion" is my equal first all-time gloomcore tune, alongside "Apocalypse Never" and "We Have Arrived" (although whether the latter is gloomcore or just gabba is a moot point)

i have already hero-ized this fine fellow at great length earlier of course

but here are a couple of his baby steps towards later, late-90s greatness

good title, not quite there yet sonically

the appearance of the "marching" thematic, in '93 already

from the same pre-PCP EP, and from the side of the record titled "Assault Side" - but nowhere near assaultive enough. Or even at all

this is much better  -

love that sort of whinnying, braying, demonic-jeer sound these guys all used

An early one for PCP / DE2001 i missed the last go round

love the mispelled EP title

but he was to get so much better in a year or two

that said, this flipside to "Torsion" - actually the A-side - is rather subdued - not as dark or as forceful as the title promises. Atmospheric though -  good sounds and textures.