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Dr Syntax – Subcultures Serocee – Life Trost – In Diesen Raum J*S*T*A*R*S – Put me on a planet Max Sedgley – from the Roots to the
Shoots Black Grass – April Fools Mix Black Grass – Don’t leave me this way Recluse Crew and Synoptic Pressure - The Art of Raw Sound Nneka – The Uncomfortable Truth |
Dr Octagon – The Return
of Laura Lopez Castro – Mi
Libro Abierto Bugz in the Attic –
Move Aside & Back in the Dog
House YT – Straight Outta Britain Dr Octagon – Aliens Dubbledge – Fist of JahBlack Grass – A Hundred Days in One Gentleman – Caan Hold us down ft Barrington Levy & Daddy Rings |
Dr Syntax – Subcultures www.dentedrecords.com www.beerandraprecords.com
Released on 21 August on an aptly named label,
and it comes across exactly as that, nothing to do with rap and all to do with
(British) beer in my view. Not
amusing not fun – Pack mentality sums it up well!
Tracks - SubCultures – Animal Hides – Pack
Mentality
Serocee –
Life /War www.illflavarecords.com
Released 21 August
Info - - Serocee has dropped one of the hottest tunes
of the summer here! 'Life' is a hip hop banger with infectious reggae style
vocals which has all the right ingredients to give last years runaway success
'Welcome To Jamrock' by Damian Marley a run for it's money!
'Life' is an upbeat song which draws reference to the fact that life is short
and we should all make the most of it, summed up by the lyrics: "we are
all living but will die…just make sure you make the most of life". Also
featuring on the b-side is new track 'War', a hard hitting call to arms.
Serocee was born in Small Heath, Birmingham UK, and showed signs of his musical
talent at an early age. As a child he was sent back home to Kingston Jamaica
for his education, which is where his love of reggae music began. Although a
self-proclaimed hip hop master now, Serocee's native roots still resonate
through his work as can clearly be heard on 'Life'. At 14 Serocee created a rap
group called Crossfire and they achieved local success working with the likes
of Pato Banton. He won all the rap battles at the Porsche and Q clubs, and
further perfected his technique from watching his favourites in the sidelines.
Watching artists such as Cutty Ranks, Macka B, Shabba Ranks, Ninjaman, Tiger,
Mad Cobra and Papa San saw most of his pocket money!
Serocee moved to London in 1999 and has since hooked up with talented UK hip
hop producers Karl Hinds and Darkjoint and is currently signed to Karl's record
label ill Flava Records and Dark Joint's management JPM FAM. ill Flava Records
/ JPM FAM is an independent hip hop label with releases featuring a wealth of
talent from artists such as: Junior Reid, Seanie T, Lord Finesse, Black Twang,
Capleton, Tommy Evans, Rodney P, Mystro and Estelle. Darkjoint is also the
producer behind highly acclaimed rapper Malarchi currently signed to ill Flava
Records / JPM FAM too.
Serocee is currently busy working on his debut album from which 'Life' will be
taken, called 'Second Generation Windrush Pickney ', soon to be released on ill
Flava Records / JPM FAM. The album sees production duties shared by Darkjoint,
Cavey, Karl Hinds and Urban Monk.
Tracklisting:1. Life
2. Life (Instrumental)
3. WAR
4. WAR (Instrumental)
Review – Well this is allright, the rap is good the vibe
infectious on both tracks. War I
think is a stronger track but probably less commercial. If this is anything to go by the
forthcoming album will be worth getting but in the meantime this will doubtless
mash up the carnival.
Trost – In Diesen Raum www.trostcity.com
Released 21 August with also DJ Hell Remix,
eclectic euro electro with a 60’s style vocal. The remix is much heavier with a more sinister sound.
Update with the complete album, eclectic
English French and German, that regrettably does little for me in any language.
Dr Octagon – The Return of www.casuallondon.com www.thereturnofdroctagon.com www.protestrecordings.com
Released 29 August – info about Octagon aka
Kool Keith is below, with the review of the lead track Aliens – he resurfaces
after a long break with this package. Also appearing on the album is DJ Dexter
and Princes Superstar. Theres something crazy going on and this is it – it
reminds be of lee Perry, of Bootsy Collins, Categorise it if you can, understand it at your peril – like
whats that Al Green thing all about. However just like a Parliafunkadelic thang
it holds you into it, and not to mention a gorilla driving a pick up truck!
1 Our Operators Are Masturbating; 2 Trees 
;3 Aliens ;
4 Ants (featuring DJ Dexter) ;5 Don't Worry Mz Pop Music
6 Perfect World ;7
The Turtle Skit 8 Al Green 9 A Gorilla Driving a Pick Up Truck 10 Got Any Kids? 11 Doctor Octagon 12 It's The Morning 13 Jumpstart 14 Eat It (featuring Princess Superstar)
Laura Lopez Castro – Mi Libro Abierto http://www.lauralopezcastro.com/
Info - There are those rare occasions, when things connect rather
than merely combine. A clear, deep, female voice and an acoustic guitar do just
that. It is a union of original fertility. Mood and feeling rush to give their
blessing; rhythm and passion, melody and melancholy all soon follow.
This is the music that the singer and songwriter Laura López Castro and the
guitarist and composer Don Philippe create on their debut album 'Mi libro
abierto', released on March 3rd 2006 on Max Herre's label 'Nesola´. The album
works - beautifully, intensely- because these two spirits, who could hardly be
more diverse, harmonise. You don't necessarily have to understand the lyrics of
the sincere and sensational Señorita López Castro. Nor do you have to follow
the hands of the guitarist, Don Philippe; yet you will 'get it' - intuitively,
absolutely.
"The whole wonder of music, of course, is that you understand it just like
that, as a feeling", says Don Philippe, "I am fascinated by Atahualpa
Yupanqui from Argentina, for instance - who plays the guitar and sings in
Spanish - even though I hardly understand a word. Why is it that I am so
totally entranced, more captivated than if he was singing in a language I
completely understand?"
"If it was only about words, you wouldn't have to sing them", answers
Laura López Castro. Laura, still in her early twenties and the daughter of
Spanish immigrants, grew up in Stuttgart (Germany) dancing Flamenco, making the
inevitable experiments with her first rock band and loving Björk, Elbow and Kyuss.
Don Philippe, son of a Parisian mother and more than half a generation older
than Laura, was known in his hometown of Stuttgart and as far as Europe, Japan
and the US with his project "No Sé". He later co-founded
Freundeskreis, one of Germany's most successful and respected Hip-Hop outfits,
worked closely on Joy Denalane's solo debut 'Mamani' and is an avid Jazz fan.
The differences make these two an odd couple. The extroverted Laura and the
unassuming Philippe complement each other completely, far better than many
conventional duos. These two may think differently. Musically they are of the
same mind. "It has to develop…" Laura says, starting to describe
their work together, "everything has to fall into place," adds Don
Philippe. "I can't compose harmonies without having a melody. So I used to
start with a melody, then leave off for Laura, so she could develop it into one
that fits her words more perfectly. But over the course of the work we found
out…"
"…that it's much better to write together from the start", finishes
Laura. "When the lyrics are there first and then we weave the music around
them, it almost always comes out better."
It is November of 2002; on the eve of her long-planned trip to
Mexico, Laura records one of her own songs in the home studio of Don Philippe,
the very significant other of her friend Ulla. They have talked about doing
this for a long time, but now it is finally happening. Laura is nervous,
because up to that moment she has only sung her own, very personal songs in the
comfort of her own room, for and by herself. On her return from Mexico three
months later Don Philippe has written music around her a cappella melody. 'Mi
libro abierto', their very first song, was such a revelation that the two
decide to team up. Together they study the Bossa Nova classics of Antonio
Carlos Jobim, João Gilberto or Baden Powell, which they both love. They
interpret these Brazilian legends, just Laura's voice and Don Philippe's
guitar. They are soon joined by double bass player Christoph Sauer, former
member of the 'Freundeskreis' live band. For a year the trio rehearse on a
regular basis. Slowly and surely, the classics are replaced by their own,
original compositions. The lyrics are in Spanish, obviously. It is Laura's
mother tongue and 'Donde estas dulce amor?' just sounds better than 'Where are
you, sweet love?' and 'Eclipse de luna en el cielo' is more poetic than
"Lunar eclipse in the sky". The music develops an innate ingenuity,
developed along their mutual path. The roots clearly lie in Bossa Nova, but
grow towards Victor Jara (Chile), Ernesto Lecuona (Cuba), and on to Portuguese
Fado or North American Jazz. The final result defies genre. Just listen to it
yourself.
Someone listening and applauding from the very beginning was the German singer-songwriter,
MC, producer and entrepreneur extraordinaire Max Herre. He invited Laura and
Philippe to perform their piece 'Flor que marchitará' - the tender song of a
'flower that is bound to wither and die' - on his wildly successful album 'Max
Herre', which was released by Four Music in september of 2004.
Now, for the first time, Laura and Don Philippe's very own album is out on
Herre's new label 'Nesola´.
Their songs are moving and completely enjoyable. The quiet 'No es por ser ni
por estar' (Neither Being nor There) opens the album. It is Laura's
"rather late thank you note to my mother" and is elegantly interwoven
with a string quartet. The quartet features again on 'Mi amor lleva una espina'
(My Love bears A Thorn), "Ahora te veo más cerca" (Now I Can See You
closer), the theme song 'Mi libro abierto' (My Open Book) and the new album
version of 'Flor que marchitará'. The album's string arrangements are by
Sebastian Studnitzky who is now in the spotlight with his work for Joy
Denalane, Rebekka Bakken and Nils Landgren. Here he plays Fender Rhodes on
Philippe and Laura's lullaby 'Nana' and their relaxed 'Mariposa perdida'. Other
songs are graced by his breathtaking trumpet solos. Laura and Philippe also
cover the guitar-voice duet 'Sonhos' by Peninha, which begins like a Bossa Nova
standard but quickly and convincingly enters its very own worlds of sound. The
other cover featured is 'Estate', originally a hit worldwide for its Italian
composer Bruno Martino. The summery sentimentality of this song is hard to
resist.
But all you really need to know is that these songs touch, emote, go under your
skin, relax and excite. This beautiful voice and these intimate melodies will
speak to you, familiar and human. You can marvel at Laura and Philippe's simple
charm or their harmonic complexity. This music communicates; passionately,
melancholically and hopefully. It overwhelms with its calm and the enormous
power of its authenticity.
Review – Release date 4 September - Well this is
something totally different, but I have to say I love it. It is mellow, moody,
acoustic but beautifully sung and produced. I cannot say to much as it is outside my sphere of
expertise, but needless to say I do keep returning to it, and whilst it is downbeat
it is incredibly uplifting
Tracks - 1. No es por ser ni
por estar Reinhören
2. Mi amor lleva una espina Reinhören 3. El juego de la vida Reinhören 4. Estate - Live Reinhören 5. Aquí estás tu Reinhören 6. Flor que marchitará Reinhören 7. Mariposa perdida Reinhören 8. Mi libro abierto Reinhören 9. Sonhos - Live Reinhören 10. Nana - Live Reinhören 11. Ahora te veo más cerca Reinhören 12. Soledad Reinhören
Nneka – The Uncomfortable Truth www.nnekaworld.com
Info: - "In my life the only places I really felt secure were
and still are in the Music and in the Lord", says Nneka Egbuna. She was
born in a small town called Warri in Nigeria in 1981 and used to sing in her
school's and church choir in Nigeria.
After relocating to Germany she's been singing
"professionally" for 5 years now. Her influences reflect her younger
days in Nigeria as well as her time in the western world as she names famous
compatriot Fela Kuti and legend Bob Marley as well as contemporary rappers Mos
Def, Talib Kweli, Mobb Deep and Lauryn Hill. After gaining experiences good and
bad with several producers and artists, she finally met DJ and Hip Hop
Beatmaker, DJ Farhot (Hit Spot Productions) and they are working together for 2
years now. Before that she started hanging out with artists such as
"Maskoe" and "The Chosen Few Crew" (Short Lord, Sensai
Miyagie, Antonio, Seven 30 a.o.) and recorded songs with them. Subsequently
they became her posse.
Musically her songs range from deep soulful ballads like her
"Confession" tune to modern reinventions of the UK sound, that
"Massive Attack" once was popular for ("Changes") to
funk-driven Hip Hop tracks ("Stand Strong"). Even though she sings
more than raps, she claims Hip Hop as her primary musical roots and an
important source of her inspiration. You can call it Hip-hop Soul, if you want
to, but as most real artist, Nneka doesn't like labels. Even more important for
her thoughtful lyrics are her origin and up bringing in Nigeria. "I get
inspired when I take a severe look at the things going on in our world today;
especially in my country. How people live, suffer and endure pain, politicians
and religion. And when I see all that man has evoked and created out of
self-centeredness and devotion to material things", she rants.
Playing occasional gigs on her own backed by DJ Farhot, she already
made herself a name on the local scene of Hamburg and its surrounding areas,
when for the first time sharing her musical message with a bigger audience and
introducing her own band in June 2004: With no released record to her credit
yet she got herself the opening slot at Sean Paul's open air show in Stadtpark.
Another highlight in her onstage-career placed herself in front of the
prisoners and prison officers at her Majesty's prison service Holloway
Islington London UK in February 2005, where she gave a taste of her mission for
45 minutes without back up.
After finishing the production of her debut EP "The
Uncomfortable Truth" she toured Germany, Austria and Switzerland opening
up for label mate Patrice. Since this tour went really well for her and started
a buzz, that is constantly building, she continued working on songs for her
debut album "Victim Of Truth" right afer coming back from the road.
It is made of 15 songs including the 5-song-EP "The Uncomfortable
Truth" with "Stand Strong" in the original Hip Hop Version.
"I do not see myself as a performer but as somebody who
shares her heartfeelings with others. I have fortunately, by the grace of God,
the opportunity to sing my message to you on your stages. And if the media
supports it - fine! This is an advantage for something I feel the world
needs."
Review: - very nice track and one that Uk soul
heads could go four, midtempo, sort of crossover sort of intro, and when the
horn samples and chorus kick in the pace lifts (maybe just a bit to overdone, I
would have stuck wit the horn bit and less of the oh oh’s, but what do I know),
then it kind of goes a bit neo with a more spoken part. So all in all a lot
going on but a nice vibe. Like it
Gentleman – Caan Hold us down ft Barrington Levy & Daddy Rings www.journeytojah.com www.fourmusic.com
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NEW GENTLEMAN SINGLE - 21.07.2006 - ON WE GO
The new brand new Gentleman Single is the title track of
the Movie "Hui Buh" (Coming soon to your cinema !) and features also
the song "Caan Hold Us Down ft. Barrington Levy & Daddy Rings !
Review – From Germanyand
very much a Euro reggae feel to t and I can see it being hugely successful on
the continent, but a tad formulaic for th eUk market I feel
Recluse Crew and Synoptic Pressure - The Art of Raw Sound www.koolkatrecords.fi
http://www.recluserecordings.com/Albums/The_Art_of_Raw_Sound.htm
Classic rugged and jazzy hiphop featuring Synoptic
Pressure (Mikchek, Lojik Reazon, Live Wire & Dispute One) from Minneapolis,
Minnesota. Production by The Recluse Crew (Staffro, Flam & Jake The Break).
Kool Kat Records & Recluse Recordings Kool Kat Records Distribution: Time Warp
Distribution Diskunion Japan
For detailed info contact Kool Kat Records: kool@koolkatrecords.fi
www.koolkatrecords.fi
Well out of Finland, the Recluse Crew in
collaboration with MC’s Dirty Smarts and LLC, Synoptic Pressure. And the
result, the beats are heavy, the rhymes flow, the production is tight, and all together
this is one fine album, and is going straight to ‘car’ – that means it joins
the sample of CD’s that stay with me and gets frequent plays whereever I go!
This albums flows from front to back, it is
natural, it is organic both in beats and in rhymes. Hard to spot a weakness on this.
Tracks: -1. Intro; 2. Definition ;3. A Day in
the Life ;4. Due Process; 5. Lyrics; 6. Interlude; 7. Concrete; 8. Stress Free; 9. Situations and Circumstances;
10. The Art of Raw Sound; 11. That's For Sure; 12. Who I Am; 13. That's All It
Takes; 14. Perfect Imbalance; 15. The Process; 16. Who I Am Remix; 17. Outro
Black Grass – A Hundred Days in One www.black-grass.com
out 14th August
2006
Review: - A varied and rnjoyable album ranging
from the storming intro Lucha Contra De La Injusticia though to reggae stylings
on Oh Jah ft Jah Marnyah. Variety
abounds on the album and the production is faultless, premier Uk Hip Hop
featuring Jehst on Lines Of Defence.
Nemesis is a weird one a bit like a 60’s band
instrumental. Don't Leave Me This
Way ft Dominique Noiret is the single featurd below. The Floating Wizard is just a bit of a filler really, and
apart from the opening track I prefer the ones with guest vocalists of whatever
style and none more so that a man kicking up some dust right now, Down &
Dirty with Micall Parknsun
So Many Ways ft Okou is my favourite cut I
think a mellow but with very heavy beats, and an excellent production with
loads of bits in there, neo soul feel, great stuff.
Tracks: -01 Lucha Contra De La Injusticia 02
Oh Jah ft Jah Marnyah ;03 Lines Of Defence ft Jehst
;04 Nemesis 05 Don't Leave Me This Way ft
Dominique Noiret; 06 The Floating Wizard; 07 Down & Dirty ft Micall
Parknsun; 08 So Many Ways ft Okou
Black Grass – Don’t leave me this way featuring Dominique Noiret – www.black-grass.com
01 Don't Leave Me This Way (Radio Edit) takes
this down to a dirge slow beaty atmospheric ballad featuring Dominique Noiret.
It’s dark and different and a far cry from the versions you will probably know and
love, interesting to say the lease.
I do like the Jstar laid back reggae dubby mixes though, 02 Don't Leave
Me This Way (J-Star Remix), 03 Don't Leave Me This Way (J-Star Dub)
04 Down & Dirty featuring Micall Parknsun
(Dirty), 05 Down & Dirty featuring Micall Parknsun (Inst) – a couple of
mixes featuring the currently growingg and in demand Micall Parknsun, the beats
are stronger on this hip hop mix with what sounds like a 60’s TV thriller
soundtrack. 06 Don't Leave Me This
Way (Inst)
Dubbledge – Fist of Jah www.dubbledge.com
Watford based Dubbledge started off his
music career when he linked with Steve Ebola in the Late 90’s. A few years on and
Edge is definately a serious up and comer, having rocked joints with Foreign
Beggars, Ghost, Micall Parknsun & LG to name a few. His witty lyrics and
mad carizma set him apart from many other rappers in the scene...
FIST OF JAH
After having dropped 3 12"s
within a short space of time last year, Edge returns alongside Dented, to bring
you his mix CD. Comprising of 19 tracks, featuring mainly exclusive material
comprising of features, unreleased joints & freestyle joints. With beats by
the likes of Dag Nabbit, DJ Snips, Jabba The Kut, IDO, GhosTTown, Steve Ebola,
Budase & Neehi...
Track List
01.INTRO -LIVE ON BBC 1XTRA WITH RODNEY P &
SKITZ ;
02.PERFECT BEATBOX -FEAT.SHLOMO ;
03.MOMING WORSHIP -FEAT.DABLA & MENTION;
04.DEADLEE AKA CAPPED'IM BUN'DEM -LIVE FROM DA
ATTIC ;
05.UNAUTHORIZED LOSS (DEDICATED TO ANDREW L)
;
06.THATS LONG -FEAT.MICALL PARKNSUN &
WORDSMITH ;
07.THE INTERNET SONG; 
08.SKIT ;
09.VENUS -FEAT.SKREIN & DR SYNTAX; 
10.GYAL ROUND HERE; 
11.VERBAL -NAH MEAN; 
12.OFF-KEY; 
13.SKIT ;
14.XOALIN MONK; 
15.3WAY BEATDOWN -FEAT.INJA & ORIFICE
VULGATRON; 
16.SO HIP-HOP (REMIX) -FEAT.GENESIS ELIJAH
;
17.MONEYS A BITCH -FEAT.SELESHA & ZIGGY
;
18.DONT INTERUPT -FEAT.JABBA THA KUT ;
19.SSSHHHH
Label DENTED
Review:
- featuring the cream of UK Hip Hop, Doubledge hits the streets with his first
release, full of top beats and exclusive material. A backdrop throughout that
sounds quite menacing but in addition to some great observational commentary it
is laced with humour, lyrically and right down to the Balalaika!. Excellently
sliced together with skill and though, like for example the operatic classical
samples on That’s Long.
Black Grass – April Fools Mix www.black-grass.com www.catskillsrecords.com
Info; -A true DJ in every sense, Mex has been playing clubs in his
own inimitable style since the late 80's.
As well as touring Australia three times, he's shared his love of
vinyl across the globe from Brazil to Tokyo, and has opened shows for Jurassic
Five, Public Enemy, Grandmaster Flash and many more. Regarded as "one of
my top favourite DJs in the world" by Portishead's Andy Smith
as well as breakbeat supremo Krafty Kuts, Mex has always stuck
with what he believes in - quality music, played well.
His sets encompass hip hop, funk, soul, reggae, latin, boogie and
disco breaks, all played in a true b-boy style.
Review: - A terrific mix tape, entertaining from front to back and
successfully merging a vast array of genres effortlessly –this is what a nights
entertainment should be about. Hip
Hop, funk, electro, disco, lots of latin, reggae diggin the crates and new
stuff too. I don’t usually go for mix tapes but this one has rarely been out of
the car for days. Artists featured
include Jurassic 5, GLOBE & Whiz Kid, Johnny Osbourne and plenty of Black
Grass material.
A second album is ready to drop in August.
Dr Octagon – Aliens www.casuallondon.com www.thereturnofdroctagon.com
Info: - Kool Keith AKA Dr. Octagon, is most renowned for being in the
seminal, old school NYC hip hop trio, Ultramagnetic MCs. Hailing straight out
of the mean side of the Bronx, Kool Keith has redefined the conventional hip
hop styles and introduced a warped, bizarre take on the genre. Always one to
court controversy, Kool Keith records under many guises, often confusing and
surprising his audience.
Kool Keith's early career and lyrics with the Ultramagnetic MCs often made use
of his growing reputation as a somewhat unstable character, and onetime patient
of Bellevue, a psychiatric hospital, where he was treated for depression.
Teaming up with Dan "the Automator" Nakamura under the name Dr.
Octagon, Keith again reinvented his image, recording the self-titled 'Dr.
Octagon' album (later reissued under the title 'Dr. Octagonecologys't) that was
released by Mo' Wax.
Finally, back again to shock and thrill us after years out in the wilderness,
Dr. Octagon, goes straight for the jugular with the release of his highly
anticipated new album, 'The Return of Dr. Octagon'. Spliced and diced together
by the man, Kool Keith, himself and slickly produced by clued up production
trio, One Watt Sun, this looks set for some playlist domination.
The One Watt Sun collective, (consisting of John, Ben and Simon) were brought
on as the producers. They recorded 'The Return of Dr. Octagon' in a twelfth
century turret in the old quarter of Prague, as well as Byron Bay and Melbourne
in Australia, and also at One Watt Sun's current studio space in Berlin. Their
musical style as showcased via the new Dr Octagon record is like a morphing
twisted intelligent organism, an animal yet to be named. They enlisted the
additional talents of DJ Dexter (the Avalanches) for the Egyptian scratch
flavour of Ants and Princess Superstar who features on the song ''Eat It'.
Casual Records are proud to announce the release of 'Aliens', the first single
from the forthcoming Album "The Return Of Dr.Octagon". We've teamed
up with American Label OCD and their talented production trio One Watt Sun for
this album over a year ago and now its almost ready for your ears. 'Aliens', is
set to drop in July, and Kool Keith aka Dr Octagon spits all over it in the way
only he can. Ram's drum'n'bass prodigy Subfocus has a remix already blowing up
dancefloors worldwide. This badboy is set to smash it...
Review: - Aliens the lead track from the album, with an origial
mix and a Drum and Bass Mix by Subfocus. Top tune already getting big plays and
media attention up and down the country.
Chopy beats, amusing scifi lyrics and then it goes all skanky – great
video to check to. The d&b mix is quite good too.
YT – Straight Outta Britain www.straightouttabritain.com http://www.hiptones.biz/ http://www.sativarecords.com/lek320ieu389s/viewtopic.php?p=256#256
I’ve kinda lost touch a bit wit this kind of music over the years,
mainly through choice because I didn’t like the way Dancehall was heading, but
this album knocked me back a bit as it is so good, and that it comes from a Yt
boy out of Ipswich is doubly surprising.
It successfully merges, manipulates and draws from the old skool right
through current day dancehall to full effect. That said it is very much from a
UK perspective.
I’m always going to lean towards the vocal tracks so to have
Luciano on Longtime is an extra special bonus. Another killer
cut features another guest Patchino - Special Delivery with a sweet sweet
riddim and old skool feel. England
Story is pure quality dancehall and a track that’s kicking up a storm, YT is
currently doing plenty of gigs, check the above sites. Real Life and Mind are
really my kind of tune, like an early 80’s cut. Similarly Wicked Act sounds
from that era but lyrically its straight outta now and todays badness.
Domestic Affair features Bongo Chilli and the dancehall beats are starting to
get harder and more ‘now’ and this continues into Right Time. YT with JD is at a superfast pace.and
it concludes with the catchy Ain't No Stopping with Horseman.
Great fun and I liked it a lot.
Tracks: -1. Intro 2. Real Life 3. Mind 4. Longtime - YT
& Luciano 5. Innit 6. Special Delivery - YT & Patchino 7. Wicked Act
(1) 8. Wicked Act 9. Real Girl 10. Surround You 11. Domestic Affair - YT &
Bongo Chilli 12. Right Time 13. England Story 14. YT (1) 15. YT - YT & JD
16. Ain't No Stopping - YT & Horseman
J*S*T*A*R*S – Put me on a planet http://www.myspace.com/jstarsmusic
http://www.23online.co.uk/ www.intergroove.co.uk
Sim Lister and Steve Cobby with a compilation of their 12’s and
moe put together onto this album.
Tracks like Ickey Plush and Tripping the Light fantastic go back a
little bit, my sampler icludes those tracks together with Spanish Hustle and
Spansules. It’s all rhythmically
quite nice with out , for me, really going anywhere. Nice and beaty if your in that type of environment.
Update - Now have the full album, and can only reiterate the above
points, its kinda Ok, Nyree I like which has quite funky overtones, Lots of it seems to derive from Old
Skool electro and it, in my view, needs to let rip and instil some B-Boy raps
to liven it up.
Bugz in the Attic – Move Aside
Bugz in the Attic –Back in the Dog
House http://www.bugzintheattic.co.uk/news.php
Back In The Dog House - Release date:
2006-07-24 - Formats: CD Album and Vinyl
Info: -Sometimes musicians take themselves way
too seriously. If they’re not fervently musing about a utopian industry where
music is the closest thing to the Aids cure, they’re flogging their master plan
to save ignorant consumers from the fatal nature of commercial music.
It’s something of a joy then, that Bugz in the Attic isn’t that kind of group.
Orin ‘Afronaught’ Walters, Paul ‘Seiji’ Dolby, Kaidi Tatham, Daz-I-Kue, Alex
Phountzi, Cliff Scott, Mark Force and Matt Lord certainly create tunes that
make an audacious statement, but behind their mighty façade is a bunch of
nonchalant, occasionally chaotic musicians with a natural knack for producing
quality dance music.
2004’s ‘Booty La La’ may have well been an accidental hit. It could have been
that joint chilling in the basement or maybe a passing joke about a tellytubbie’s
arse. Truth is, members Kaidi, Daz and vocalist Mpho Skeef whipped the rascal
together to add a hint of originality to their 2004 retrospective remix
collection, ‘Got The Bug’ and no one anticipated the single was destined to
become an overground smash. “None of us ever expected it to do what it ended up
doing,” admits Orin. “It was just to promote the remix album! It sort of hit
home when we had to do a video for it. None of us anticipated being in a video
for a single we had done.”
The track was an outright stomper, pumped with smutty bass, rude synths and
Mpho’s quirky chops that delivered the memorable “la la” hook superbly. In
typical Bugz fashion, “Booty La La” put a new twist to dance music and its
commercial acclaim jump-started the group’ plans to put down their first, and
arguably overdue, studio album. “The album had always been something we talked
about, and the success of Booty La La gave us the confidence to say we don’t
have to make music that’s a particular style,” adds Seiji. “It meant that it’s
possible just to make good, dance music.”
Their long-awaited debut, ‘Back In The Dog House’ is just that - exciting and
vibrant, unique yet universal, and dazzling with a brazenness that alternates
between the downright dutty and the positively sweet. Then there are the
charming arrangements, the arrogant b-lines, and the vocal superstars, which
altogether form something that’s too damn good to be labelled. And such is the
ambiguity of this fine record that even the title’s a little baffling.
Legend has it that the Dog House is a mythical place far, far away, where the
Bugz seek sanctuary from the outside world, currently inhabited by one
particular Bug (who’ll remain nameless) on a long-term basis. As Orin explains:
“Back in the Dog House is basically just a term we use when we’re rocking with
the other artists and everything’s gone a bit wobbly. Or you’re in the bad
books with your girlfriend or your partner or whatever. So the studio is called
the dog house. It’s our little cave where we can go away and escape.”
There were minor flirtations with other titles. “Sounds Like…” was a little
cliché, and the hilarious “Blood, Snot and Tears” almost looked like a winner,
seeing as it perfectly summed up the recording process that needlessly took over
a year. “Some people can do an album in three weeks. Bugz In the Attic can’t,”
says Seiji. “A lot of the time when we’re recording, it’s total chaos, but
somehow we get through it. It’s the messiest process you can imagine, with so
many people involved, all the different personalities involved, and everybody
feeling like it’s their record. There are definitely a lot of chefs in the
kitchen. But the album turned out amazingly well, considering what a painful
process it was.”
“Really, this album could have been the end of us,” explains Daz-I-Kue. “A lot
of times as individuals we don’t want to compromise.”
Alex agrees. “Being in Bugz gets very stressful and there’s a lot of arguments.
There are a lot of disagreements – shouting at each other, people storming out
the room – but no fist fights yet though. Up until now we’ve always managed to
hold it all together.” If they didn’t, things just wouldn’t be the same. Each
Bug, who’ve all carved reputations in their own right, brings something to the
Dog House that collectively works a treat. For starters, the album’s sound is a
result of the group’s diverse tastes. “We’re all from various musical
backgrounds,” says Alex. “I loved jungle, Orin comes from house, Kaidi comes
from a jazz, funk, soul background and Daz comes from, well everything.”
Orin elaborates on their roles further. “We have Mark the joker, Daz is the
chief recorder, and I’m a programmer; Matt Lord as well. Seiji and G Force
mainly do the electronic stuff, Kaidi is obviously a musical all-rounder. He
does all the music, the majority of the writing, and the arranging. Myself,
Alex, Cliff - we’re all producers.”
It’s no wonder that the album’s 15 tracks are as varied as they come. “Random,
like the gyal dem!” jokes Orin. “Random, random, random. We wanted to do a
dance album, but that’s quite a challenge in itself. Only some people can pull
it off successfully. But we didn’t want to do something completely generic.
There’s a contemporary sort of theme running through it. We’ve got a bit of
everything up there. There’s a few conscious tracks, escapist tracks, love
tracks, radio-friendly and even pop tracks.”
The perfect primer is first single ‘Move Aside’, an unbridled funk jam with a
frantic b-boy quality that gets better with every spin. Tender vocalist Bembe
Segue run the proceedings, also making further appearances on the spontaneous
‘I’m Gonna Letcha’, ‘Once Twice’, ‘Redhanded’ and ‘Consequence’, a slick
throwback to 80’s boogie.
Other guests who pass through this spirited affair are Reel People’s Vanessa
Freeman (‘Inna Row’), singer/songwriter Michelle Escoffrey (‘No More’),
Basement Jaxx singer Vula (‘It Don’t Work Like That’), original Bugz chick
Yolande (‘Happy Days, Once Twice’) and long-term collaborator Don Ricardo
(‘Worla Hurt, Redhanded’) who represent some of the finest collaborators on the
underground scene. The album’s highlights include the ear popping ‘Don’t Stop’,
a revamp of the 1981 Yarbrough & Peoples original, ‘Don’t Stop the Music’,
sung with crazy finesse by Sharlene Hector. A hit of it’s time, the Bug boys
give it an incredible new lease of life, fitting for 2006.
Ironically, it was exactly ten years ago that Bugz in the Attic first formed.
Hanging out in Orin’s attic studio in Richmond, six assorted musical misfits,
joined by their common love of dance music, took on the title Bugz In the Attic
thanks to leading beats-king Phil Asher who granted them the title. To make a
long story short, a dead fly happened to be on Phil’s mixing desk in his studio
– which later became Orin’s – and a passing comment would eventually become the
name of the most distinctive crew in the country.
Soon after Bugz further established themselves by stamping remixes on popular
club tracks. “We though we want to be at the forefront of that, doing the more
accessible, wider audience stuff,” says Orin. “As well as doing our individual
stuff, we thought that when we come together, we can concentrate on doing
remixes for the more mainstream artists, but bring it back to our audience
level. So we concentrated on that for a long time, and it eventually sort of
paid off.”
They set up their own label, Bitasweet Records, a production company and
expanded the crew to include the acclaimed Mark Force, and Matt Lord, while
regular night Co-Op at London's Plastic People also worked to help their cause.
But it was a remix of 4Hero’s ‘Hold It Down’ that was an indication of Bugz’s
greater dancefloor potential, and since then, the group has steadily reached
the tipping point where superstardom is now within their reach.
“We’ve managed to weather the ups and downs of the music business, and the
changing climates of music as a group,” says Seiji of the last 10 years. “The
whole experience of Bugz in the Attic has been a real experience, a real
learning curve about people, and about how they interact, and it’s been a
maturing process.” They’re now concerned with translating all their musical
goodness into a monster stage show that has already thrust Kaidi and Daz into
the forefront of the performance to triple-encore-effect. Back In The Dog House
is the album that proves the Bugz have finally arrived. And not before time.
Review – Well there’s a whole bunch going on
here and it’s all good quality, heavily laden with consistent beats, complex rhthms
and constructions where the whole crew and assorted guests get the opportunity
to stamp their mark. Lots of Soul
interest in here connecting it to the rest of the site like Vanessa Freeman on
the ultimately percussive INNA ROW, Michelle Escoffery on NO MORE, a track that
would be not out of place on the expanding US Neo Soul meets Drum and Bass
arena. Remember Yarborough and Peoples classic DON'T STOP THE MUSIC updated and
freshened.
That said I particularly like the tracks where
Bembe Segue takes lead in the proceedings, the Beat Boy Funk of the single MOVE
ASIDE 
,
a bass bin tremblin pfunk meets disco meets today. I'M GONNA LETCHA goes all old skool electro, REDHANDED is
old skool funk, CONSEQUENCES is pure Disco Boogie whereas ONCE TWICE is
mellower.
IT DON'T WORK LIKE THAT, features Basement Jaxx singer Vula, on a very good
track not unreminiscent of that outfit in earlier days. HAPPY DAYS featuring Yolande is funky
drum laden, repetitive hook, and possibly the best vocals on the album. WORLA HURT also has good vocals
and also is one of the best tracks, kind of hays a Timy Thoomas feel in the
backbeat. BOOTY LA LA concludes
going back to where it started with the epic .
Track Listing: 1. INTRO 2. MOVE
ASIDE ; ;3.I'M GONNA LETCHA ; 4.NO MORE ; 5.
ONCE TWICE ; 6. REDHANDED ;7.
DOGHOUSE (INTERLUDE) ; 8. KNOCKS ME OFF MY FEET ; 9. CONSEQUENCES ;10. IT DON'T WORK LIKE THAT ; 11.
SOUNDS LIKE...; 12. HAPPY DAYS13. DON'T STOP THE MUSIC; 14. INNA ROW
15 WORLA HURT; 16. BOOTY LA LA
Max Sedgley – from the Roots to the
Shoots http://www.sundaybest.net/site/releases/detail.php?articleId=350
Info: - Max Sedgley's career to date has been a
tale of unabashed talent, irregular bouts of what Hollywood folk like to call
serendipity and bloody hard work. That the man behind 'Happy', one of this
century's most enduring clarion calls, is blessed with an uncanny knack for
fashioning infectious, dancefloor-slaying nuggets goes without saying. However,
talent, as any number of whoring, stage school self-publicists will attest, is
not the sole pre-requisite for success in the music biz.
Sedgley has had to persevere: he has put in the hours at the
coalface. His success today is not the result of some arbitrary hipster's whim.
He's earned his rhythmical stripes alright. And yet, and this is the Hollywood
bit, Max will be the first to admit that slices of good fortune have gone his
way. As a budding young drummer at school, his music teacher was friendly with
one of this country's greatest ever percussionists, James Blades. During the
war Blades had composed the BBC's V For Victory signal, and he was also the
musician who recorded the gong strokes behind the iconic J Arthur Rank films.
And whilst in his 80s he passed on his expertise to Max. Finally, these three
parallel strands have coalesced, via Rob da Bank's glorious Sunday Best
imprint, to give birth to Max's debut artist album, the sublime, and, as you
shall see, appositely titled, From The Roots To The Shoots.
Max was always going to be a drummer. As a baby he was always hitting
things. At the age of two his parents bought him a toy drum kit and when he
wasn't bashing away on that he displayed an early knack for innovation. "I
would arrange the cushions into semi-circles," he recalls fondly,
"and play on them with spoons to, I don't know, Barry Manilow or
something."
Where did this love of rhythm come from? Maybe his dad who worked
as a producer at the BBC, and who, in his spare time, built up an impressive
soul, funk and R'n'B collection. It could have been from his mum. Her side of
the family heralded from Jamaica. Many a holiday was spent lapping up not only
Bob Marley and other reggae Gods but also the New Orleans and Miami funk which
he would devour over the Jamaican radio. As he says: "It was an
amazing place to be and soak it all up." Although he shied away from the
violin lessons his parents bought for him, piano tuition was a great success,
as was, later, the aforementioned drum lessons.
At university he was schooled in the classics – Beethoven, Mozart
– as part of his music degree, and at night he would take a walk on Edinburgh's
wild and fertile nightlife. This was the mid-'90s, when house, hip hop and
drum'n'bass, especially drum'n'bass, ruled the airwaves. As such his music
today is a fusion of his classical training and the techno wizardry of dance
producers. "Hopefully it's a winning combination," he states.
He needn't be so humble, having released tracks on labels such as Second Skin,
Om, Irma and Cookin' Records, he is a man of unique talents. His aim to
"combine the analogue and the digital; the real and the electronic"
so that "no matter what style it was it would always seem current"
has been achieved. And then some.
'Happy', originally finished five years ago, "on the night
Bush was elected for the first time", helped kick the door down – the
disparate likes of Mr Scruff, Gilles Peterson, Erol Alkan and Pete Tong were
all key early adopters, the DJs at Radio 1 were all over it like a bad rash –
it even beat lad's mag favourite Rachel Stevens in one tune of the week poll -
and the venerable 'Whispering' Bob Harris caught the buzz on Radio 2. The track
of course went onto soundtrack the exploits of Wayne Rooney and company when
ITV used it as their main theme for Euro 2004 and after spending 10 weeks being
played at Radio 1 reaching the Top 30, it went on to sell a staggering 25,000
copies.
However, Mr Sedgely is no one-trick pony: From The Roots To The
Shoots ("It's something which represents my old school influences in the
roots and then the shoots is the modern, the colourful and contemporary) is
clear evidence of that. It's a joyous listen; an album enthralled by the
possibilities of sound and an album that's bought the party hats and the jelly
and ice cream. From the unpretentious and updated synth-pop of I've Been
Waiting to the fractured funk and broken electro of 'Déjà Vu' by way of the
deep, Joe Claussell-like, rhythms of 'Ego Spiritual', this is the album George
Clinton would have made if he had been a white South Londoner with a disco
fixation. Funky to the core, 'Celebrity' – a commentary on sections of
contemporary society – gives a clue to what electroclash could have sounded
like if it hadn't lost its rhythmical roots, and 'Slowly', with it's mood
enhancing orchestral strings, makes the prospect of a trip hop revival not such
a hideous vision. Live it sounds like the best disco workout. Max and his band
popped their cherry at this year's Bestival and next year will see more
Funkadelic-inspired groove-ins.
One final thought: upon leaving university Max gave himself five years to make it. As the climax of the five years came hurtling around the corner, up popped 'Happy'. Max Sedgley is a man who won't be denied. With Max in control, the beat will always go on. www.myspace.com/maxsedgley
Review: - MAX SEDGLEY - FROM THE ROOTS TO THE
SHOOTS - 17 Jul '06
The album kicks off with the tune that
probably first brought Max to prominence Happy,
funky and upbeat with big thanks to earth Wind and Fire I suspect.
But the track I've Been Waiting is one
that caught my eye, or ears, again supremely funky catchy and still reminiscent
of old skol disco soul.
Celebrity is more electro and doesn’t
do much for me. Devil Inside is more funky film score. Slowly, the next sinle I believe, is
mellower, has a vibey trippy feel to it, plus a feel that instantly grabs you
so I can see how and why it has been chosen, but not to my tatste I’m afraid.
You Can is more like
it as we get the funk back. Set It
Free is alright, upbeat pfunky and consistent. Déjà vu diverts
into a bit of hip hop but against a whole bunch of I’m not sure what. Two Way Thing sort of Space Rider meets
Tortured Soul and not very original.
Ego Spiritual again is more chilled beats.
In summary not too
sure and on balance only track two really hit home hard, but a great track that
one is.
MAX SEDGLEY - FROM
THE ROOTS TO THE SHOOTS - 17 Jul '06
Tracks: -1. Happy* ;2. I've Been Waiting*
;3. Celebrity*; 4. Devil Inside*; 5. Slowly; 6. You Can*; 7. Set It Free*; 8.
Déjà vu; 9. Two Way Thing*; 10.Ego Spiritual