Landing on Cosmocities right on cue for the summer season ahead, Japanese producer Masumi Nishimura alias Inner Science deals out a new entry into his shimmering, shape-shifting mindset. Flying us off to a soothingly dreamy and colourful headspace, bristling with vibrant sound design minutiae to wrap your ears around, Inner Science exhibits the elevating power of his music through three original joints, complemented by two exquisite remixes from multi-faceted British genius Joe Goddard and Giegling staple, Map.ache.
The acid-infused glitter of “Unfold” paves the way with understated bravura; a piece of squelchy yet dazzling nature, organically making the rounds between propulsive club music territories and exotica-laced cascades of sound. “Quiet Track 3” follows a similar course with its phantasmagoric landslides of chimey melodies and driving bass traction on stealth mode, all scudding and mingling with haiku-esque spiritual balance, while “Never Fade Away” blows the winds of poetic transcendence through a finely engineered mix of forward-racing groove and a honey-dripping, rainbow-like shower of elementally lush textures and envelopes.
Flip it over and here’s Joe Goddard taking “End of the Beginning” for a slower, slightly less sign-busy jaunt across sun-soaked clearings and pastures. Laying further focus and emphasis on the synth work and build-up here, Goddard channels Inner Science’s many facets and wildland-like exuberance through a more directed, further orchestrated pathway. Tackling “Momentary Spread”, map.ache treats us to a further dynamic, floor-friendly approach, routing its listener onto proper functional, gridlocked tracks. Bleached-out pads evaporating into aether as the bass etches into your mind with durable effect, it’s a proper oneiric roller that engulfs you down its gushing throat of faded escapism and brittle, post-discoid melancholy.
Thanks for talking to us at NFP. Where are you today and what are you up to?
Currently in Tokyo, Japan making music!
Where are you from and where are you based today?
I was born in Tokyo and I’m still based there.
How have you spent this week?
I recently moved house and this week I am reconnecting our music equipment! I also assembled some shelves and am waiting for the internet connection!
The sound of Inner Science is difficult to put into a box. If you had to define the sound of Inner Science, what words would you use?
The simplest way to describe it is “Inner Science”. My feelings have already been put into the work, so I hope that the listener who hears my work will think and judge it as he or she pleases. In my opinion, that is one of the interesting aspects of instrumental music.
You seem like a pretty elusive character. Do you prefer to stay out of the light?
Haha, What I do is simple. I just make the sounds that I think are beautiful, put them in order of preference, and make the music that I like. It is enough for me if my music stays in the light. Of course, I get a lot of light myself during the live performance.
Who are the producers and artists who have an impact on the music you make?
The fresh ideas of 90’s HIP-HOP, the various records from around the world such as Abstract/Electronica/Experimental/House/Techno that lined the shelves of unique record stores in Shibuya in the 2000s, also feel that I’m influenced by Japanese artists such as Nobukazu Takemura, Killer Bong, Gonno, XTAL, Rei Harakami, DJ Kensei, and many others. And because I like them, I have tried to make as little music as possible that is similar to them!
What other labels have you released on? Tell us about your most notable release?
I have released on my own label “Plain Music”. Also on Assembles series, a collection of original music and sound collages that was released on an American tape label “Moss Archive” and “Lillerne Tapes”. The most notable release is always the latest, which is now Cosmo Tracks!
Talk us through the Cosmo Tracks EP a little.
It is three original tracks, with some great remixers in the shape of Joe Goddard and Map.ache. Their remixes are really cool and produced in a different manner than mine. I was very surprised and really happy with what they produced. Hope you will listen and take the time to compare he tracks with the original version.
What genre of music do you feel this release best sits in or alongside?
I would be happy if listeners or DJs who hear this music choose their favourite place on their own record shelf, ie. their favourite genre and place it in their own way.
What other exciting production projects are you working on this year?
My next piece. I’m really looking forward to having people listen to it.
What other artists have you got your eyes on right now? Who do you think is one to watch?
KILN has always been my favourite artist. I was glad to see Axel Boman’s album released.
What was the most recent record you bought?
Recently got the MAT studio 1 I was looking for.
Tell us an interesting fact about Inner Science.
My first piece of musical equipment was an AKAI S900 and a ROLAND MC-50.
Harambee means “let’s all pull together” in Swahili. Through several trips to Kenya, this homage to the country of Kenya was born. The track is a clever disco composition with funky brass and guitar, groovy rhodes and catchy vocals. Definitely a summer anthem that carries you away. La Gozadera is inspired by Cuban carnival rhythms. For the production, the two Cubans Jose Braide (piano/synth), Alcides Toirac and the Spaniard Alberto Garcia (percussion) came together. Driving uptempo latin with its own twist makes this song unique. The track “When we used to dance” is afro disco boogie at it’s finest, beaming you back to the 80’s. Voilaaa built around Bruno “Patchworks” Hovart from Lyon gives the original track Harambee a deeper feel. Nice “highlife” brass and guitars reminiscent of Ghana, give the song its own vibe.
It’s great to talk to you guys. I remember seeing you perform live at Dimensions back in 2017.
Hi! Thanks for having us. That gig was great. It rained all day, but just as we started the sun came out and people started to dance.
There’s something pretty special about playing to a large and appreciative crowd. The energy is infectious. You must be buzzing for days after such an event…
Yes, in any case! Big stages like Dimensions or the Paleo festival are impressive experiences, but we also like the smaller clubs where you are close to the people, this also has a special energy.
Have you been playing many gigs since lockdown broke?
Not that many yet, but things are picking up again. Of course, we are very happy about that. Like many others, the pandemic hit us hard. Next gigs are in Barcelona, Italy and Switzerland.
Do you have some more festivals lined up this year where we can catch you?
There are already some smaller festivals confirmed, Palp Festival in Sion and Eren Festival in St.Prex. Others will surely be added soon!
For those that are new to Alma Negra, how would you best describe what you do and what you are first in terms of DJ’s producers and live performers.
You can’t tell what comes first. We are a DJ & producer collective but also have our own label, and live band project where we work with different musicians. Diego and Dersu Figueira are the DJ Team of Alma Negra. Mario Robles takes care of the live band and label work. All three of us do the production. The first ideas usually arise in the box and are then worked out with live elements.
When I try to describe the music that you make, I find myself using many words. How would you best define the music that you produce?
Musically we are very open. A certain funkiness must not be missing. The result can be disco, deep house, tribal or afrobeat. Mostly with strong percussion and jazzy elements
Which aspect of what you do makes you most happy?
We love DJing. An electronic live project in the classic sense is not necessarily what we are aiming for especially since we are already performing our music live with the band.
Where are you all today and what are you up to?
We are all in Basel Switzerland, that’s where we live and work, even though we’re musically at home all over the world.
Is there a dedicated Alma Negra studio where the magic happens?
We have a studio that we share with a couple of modular freaks, but we also all work at home in our small home studios. The ideas are then usually compiled in the shared studio.
What are the most important things in your studio?
That is hard to say. Sometimes it’s this and sometimes that. We have a modular synthesiser in the studio, but also lots of percussion instruments and various keyboards. Everything is important!
The Harambee EP is a wonderfully warm and lively collection of beats. What can you tell us about this new EP?
Glad you like the EP! Most of the tunes were created during lockdown. (Diego) I missed Kenya and I wrote and sang “Harambee” and “When We Used To Dance” while Dersu was working on “La Gozadera”. When we were allowed to meet again, we worked out the songs with some great musicians Alcides Toirac (bass and vocals on “La Gozadera”), Sandro Corbat (guitar), Jose Braide (piano), and Alberto Garcia (percussion).
For the remix we immediately thought of “Voilaaa” who delivered a beautiful version of “Harambee”.
What other projects are Alma Negra working on at the moment?
The next EP is practically complete. They are recordings we made with the live band. At the same time, we are constantly working on new things.More to come in the near future!
Who are the other artists and labels that you like to keep your eyes on?
There are so many. Hard to say! Esa Williams with his Afro synth band, Pat Kalla, Voilaaa Sound system, and Arp Frique just to name a few.
What are your next ambitions as artists?
We want to play as much as possible, whether as DJs or with the live band and spread good vibes!
When you guys are not making music, what does Alma Negra like to do to relax?
(Diego) I like to play football. Otherwise, we are very sociable people and like to enjoy a glass of wine or beer in our favourite bars.
SofaTalk is known for his wide ranging tastes that spans house, funk, neo-soul, jazz, broken beat and downtempo. He’s the founder of Cognitiva Records and has a monthly residency on the ever-growing Universal Rhythms. His sounds can be found on Banoffee Pies Records, Yam, Ini Movement, Tusk Wax, Broken District, Omena, and Anma. Up and coming Italo talent XL Regular hails from Rome, and operates with the dancer firmly in mind. He’s been making a name for himself by skilfully mixing and cleverly blending a myriad of elements of jazz, hip hop, and jungle, all squeezed into broken beat. Together Piero Paolinelli and Alessandro Giacchi have released previously on Omena, ANMA, Cognitiva, INI Movement, Nómada and Monologues.
On the ‘Afro Quarters EP’ Sofatalk & XL Regular cook up a collection of loungey deep house and intricate broken beat, laced with the live instrumentation, the result being this wonderfully jazzy EP. It is comprised of four electronic jazz-funk infused house tracks which make for a perfect testimony of their musicianship. ‘Rumble Strip’ kicks off with broken beats turning into a 4×4 house beat filled with percussion, dreamy keyboard licks and sultry vocals to underline the floaty vibrations. ‘Afro Quarters’ is up next pushing further into their signature jazz infused broken beat house style, with funk bassline and key stabs that make it hard for the dancer not to move! Throw in some tastefully done flute and Rhodes solos for the mature sound they’re known for. Third track is ‘Easy’, and contrary to its name it’s not as chilled as you’ think! It’s incredibly groovy, and is reminiscent of the masterful work of Kaidi Tatham, with its heavy staccato bass and keys, and dreamy jazzy chords balance it all out. ‘On The Run’ closes out the EP while continuing the overall vibe of luscious warm chords and some unbelievably impressive broken house beats.
ST: I’m Pier (SofaTalk), musician, producer, sometimes DJ, I share my life with music and graphic design. I like to blend these two art forms as one thing.
XL: I’m Alessandro , producer, DJ and student (on my way to be unemployed)
Tell us where you are today and what are you doing?
ST: I live in Rome, Italy, I teach Graphic Design at university, I spend the rest of my time in the studio, working on my projects and managing my label “Cognitiva Records” with which I have a lot of fun scouting for new emerging artists
XL: I live in Rome as well, right now I’m dealing with the roman summer heat, hate this hahaha. I’ll start doing what I do every day (producing, digging & more) as soon as the heat will drop.
If we make it to your city, where should we head for a cold beer and some good music?
ST: I really like going to the Magic Bar, a summer club on the banks of the Tiber, where you can certainly listen to an excellent selection of music as well as drinks
XL: Can’t go wrong with this one – Frissón. It’s a listening bar in the centre of Rome, the first place to give me a solid slot to play monthly and explore all kind of sounds, beers, natural wines and food.
What kind of vibes can we expect to hear in your DJ sets? ST: I don’t have precise reference points in my sets, I love to mix many genres, I do a lot of research, listen and buy vinyl everywhere. I get carried away by my state of mind trying to create a story that however goes from a range that can start from Jazz, soul, Bossa, funk, Hip Hop and end with more electronic sounds such as Downtempo, House, Broken Beat, Global Bass, Breakbeat & Drum & Bass.
XL: I think Piero said everything. A couple of weeks ago we played our first b2b together (crazy that we didn’t before), and our vibes matched perfectly.
Who are the DJs, musicians and producers that have inspired you over time? ST: My “Idols” since I was a boy are Herbie Hancock and Yellow Magic Orchestra. I believe they have totally contributed to my education.
XL: I have too much influences and a lot of names I could tell you! I always try to change my listening habits and not stick to the same influences. Helps me to keep discovering new tunes. Music is a never-ending circle
If someone wanted to get to know your taste, what album should check?
ST: There are two records that are carved in my mind! “Two Pages by 4Hero”, released on Talkin Loud in 1998 and “Peace Orchestra” released on G-Stone in 1999. Milestones!!
XL: Hard question. I’ll go with Afronaught’s “Shapin Fluid”. I recently re-discovered this one after a long time and completely blew my mind again.
How did you come to work with the Outplay crew on this release?
ST: I’ve been following Outplay for a long time, I love their record line. It was easy, I sent them the demos and they immediately believed in this project.
XL: Since I consider Piero a mentor, I completely trusted him and I’m really happy to have this opportunity. One love for the Outplay Crew that had the patience to wait for us lol.
Talk us through the EP a little ST: It’s a project we both care a lot about. Born from the desire to do something together. We have known each other for a few years, I immediately understood that we could mix our creativity, we have a very similar approach and musical tastes. We had these songs that we had started, they were a but rough around the edges and we exchanged them. It’s amazing how well we managed to work well with arrangements, rhythm parts, each of us managed to fill the moments when something was needed. We are really happy with the result
XL: I consider this EP the most important, demanding & intense project I’ve worked on since I started producing. I’m really happy about how it came out, we combined our best skills on this one; working with Piero is always a time of growth.
The Afro Quarters EP is for lovers of ….
XL & ST: Good music!
Where should we listen your new EP and what should we be drinking?
ST/XL: I’d love to hear it played anywhere from a festival to a supermarket! The vibes are there and would be fun to play it in unconventional spaces. Drink whatever you want with it, try various combinations and see/hear how different it sounds!
What other artists do you have your eyes and ears on right now? ST: Today I follow artists like Kamaal Williams, Vels Trio, Joe Armon Jones, Zeitgeist freedom energy exchange … I could name many others. Among the producers I listen a lot to K15, Kyle Hall, Hanna, Glenn Astro & Max Graef and of course, Italians TurboJazz & Patrick Gibin. I love their sound. Sources of daily inspiration.
XL: I’ll give you 3 names: Prest – who just released his first EP, I like to learn about different styles and scenes from him. And grab the best tunes out of his Usb. Bass Toast – who is the next broken beat soldier and a super interesting D with wonderful selection skills. Alia – a real trendsetter, tastemaker.
What you got coming up in 2022?
ST: I have an EP I have an EP with the collaboration of Veezo, very talented keyboard player. It will be released on Boogie Cafè later this year. I also have a collab-remix for Skygaze with Angelo Mazzone aka FootNote, label owner of Anma Records, coming out at the end of the year on Flumo Recordings.
Campo Sancho is a small independent festival, detailed and home-made with Love and Dedication……we say festival…..it’s actually like the best warehouse party in a field you’ve ever been to! It’s located deep in the Hertfordshire countryside, less than an hour from London. We’ve taken our learnings from over 25 years of Carnival, numerous warehouse jams, boat parties and joyous gatherings and planted them all in a stunning, magical site, surrounded by trees.
Campo Sancho 2022 takes place from 29th to 31st July……. come and join the ever – smiling dance floor!
One of the excellent DJ’s playing at Campo this Summer will be JONNY HENFREY , we caught up for a quick chat about music, festivals and campfires…
Hello Jonny. Where are you today and what are you up to?
Hi. I’m in the garden of my pub by the sea in Broadstairs… It’s a Monday so we are closed and so catching up with paperwork and resting after a hectic weekend!
What can you tell us about Campo Sancho?
I’ve been to every single one… And always tell anyone that will listen it’s my favourite festival of the year. It has always felt special.
Tell us what are you most looking forward to at Campo this summer?
Just being there again. Something magic happens when Jim, Matt et al arrive at Walkern Hall. And what a line up this year!! Saturday night’s Sancho Panza set is always ace, I always love Anouk’s afternoon sets but there are literally so many highlights this year I’m not sure which I’m most excited by!
What kind of vibe can we hope to hear from you at the festival?
Well, I’m playing on Sunday afternoon, so hoping to lull people back to the party mood gently,
Tell us track that you’re planning to drop at Campo?
This came out a few months ago but I’ve been smashing the original and the Fingerman edit ever since… In the sunshine at The Sundeck in Margate it always gets people going…
What can you tell about the line-up Campo Sancho?
What a list! Haven’t seen Hilit play for ages, although I must be about the only person, she seems so busy these days!!
Are you a happy camper?
I am the happiest of campers… Inflatable tent, a pre mixed negroni and I’m in heaven.
What’s your festival tip for Campo?
I love to peak too early… but my tip would be not to…!!
Who will you look forward to hanging out with this year?
My boys, Magnus & Caspar, who were 12 & 10 at the first Campo and have been at every one since… Magnus is off to uni and Caspar has just finished his GCSEs so new adventures are on the horizon.
What else do you have going on at Campo you can tell us about?
More often than not referred to as “The Pizza Guy”, I’ve been at Campo serving up pizzas (most years) either out of my bus with my amazing business partner Laurie. We don’t see each other so much these days – she lives in Bristol now and I’m down here in Kent… Campo and Glastonbury are the only festivals we do nowadays… Couldn’t resist our favourites! So come and grab a pizza, or shimmy up for an Espresso Martini or Negroni, as we double up as a mini cocktail bar!!
South London DJ, producer, and broadcaster Charles Vaughan presents ‘Gotta Keep On The Move’ with a deadly disco remix, and a further re-tweak by Pangaea Disco & Swung Out Records frontman Theon Bower. As a DJ Charles Vaughan has toured with Worldwide FM’s Tina Edwards, and played on Boiler Room supporting Colleen ‘Cosmo’ Murphy. He’s caught the eyes and the ears of those in the know with his high energy sets, his eclecticism and dexterous skill, and his broad ranging release output spanning hot Brazilian edits to breakbeat.
This track is as 1975 as it is 2022, as ready for a towering sound system as it is in your earbuds on the bus. ‘Got To Keep On The Move’ is a timeless cut deep rooted in the New York disco scene. This souped-up, modern reimagination giving every element of Sound Experience’s original its space and time to shine. For ten minutes, it’s soaring vocals will light up your night or your day, as the euphoria builds throughout.
On the flip producer, DJ, and avid crate digger Theon Bower turns the original into a foot stomping, four on the floor effort that parks the groove firmly at its core. It’s restrained and it’s pumping, it’s the perfect contrast to the A side with its more psychedelic journey.
Hello there! My name is Charles Craigen Vaughan – I’m a DJ, producer, writer and all round music guy with far FAR too much energy!
Tell us where you are from and where you’re based?
Originally I’m from a little countryside village outside of Bristol – think of Hot Fuzz’s Sandford, halve the size of it, remove all the shops and add a lot more scrumpy. I moved to South East London around 7 years ago and fell in love with the area; I’ve been here ever since!
Where are you today and what are you up to?
Sadly, I’ve been shaking off an intense illness which took away my only free time on the weekend as well as making me miss DJ Harvey closing Gala festival with my track – just my luck. So now I’m working late into the night to catch up before I go away for a much- needed blissful festival weekend in Wales. Can’t be having too much free time with an EP to release!
How long have you been working in music? What are the different roles that you’ve had?
I’ve been freelancing in the industry since I left Goldsmiths in 2018 and it’s safe to say I’ve done nearly every role under the sun since then. A few highlights include being a label assistant to Pete Buckenham’s legendary On the Corner Records, founding and running the Juno’s video production department and engineering the Funktion One powered sound at E1 during my time as a techie.
When did you start to DJ? Where were the first gigs that you played?
It’s a funny story actually… When I was 13 my school had a little disco as a way of introducing us to the senior school. For music, they got two 6th form rugby lads DJing on a little USB controller – it wasn’t quite Roni Size but it did the trick. At the time I’d just got my first taste of electronic music thanks to a mate gifting me Pendulum’s ‘Jungle Gold’ mix CD. So when one of the lads dropped Chase & Status’ ‘No Problem’, I decided that if they could do it, so could I and promptly bought the cheapest DJ controller that Argos had to offer.
Then when I came to Goldsmiths, I started playing some more legitimate (and less Drum & Bass focussed) DJ gigs. I ran a Jazz collective that hosted nights at the Amersham Arms for years and through that, started DJing Jazz around Peckham with a show on Balamii. I was lucky enough to have my first DJ residency at The NINES – an amazing establishment that sadly closed a few years ago. The night was called Birdland Kissal; an inspiring fusion of the kissatens of Japan and the iconic Birdland jazz club in New York.
What is the most recent gig that you’ve played at and how was it?
So glad you asked as it’s a great one! I co-run a beautiful little party called OOX alongside 5 other lovely friends. It’s a disco laden community affair that we host at Servant Jazz Quarters in Dalston. Recently we were lucky enough to bring the crew up to Liverpool where the incredible Melodic Distraction Radio team hosted us in their new bar/cafe space. I’ve been running my radio show on the station for two years now and they’ve always been such an incredible team to work with… sadly I don’t get to visit that often so this was a rare treat! It was honestly such a blast bringing the crew on a colossal one date tour – a brilliant excuse for a weekend getaway with a TON of amazing music. Not a bad recent gig if I do say so myself…
What kind of vibe should we expect in a Charles Vaughan Set?
Energy. I think that’s often the word my mates use to describe my sets despite the variation in genres I may focus on. I do enjoy my chillout stuff – I used to have a hybrid ambient DJ act with reel to reel tape decks! But truly, my heart yearns to play the most energetic and ecstatic music I can get my hands on!
Can you tell us one of your all-time favourite records?
These questions are always so hard to answer, how can I just pick one? What first came to mind was Joyce’s ‘Feminina’. First discovered through Jeremy Underground and MCDE’s b2b at Dimensions festival, this record has really never left my side. It comes with me to nearly every gig I play but it’s also on my turntable at home often. I think that’s a good sign of a truly great record – music that you’re as keen to drop in the club as you are to play whilst lounging on a Sunday evening.
Joyce has one of the most spectacular voices I’ve ever heard – no exaggeration. The composition in this album is breathtaking too. The paths each song takes are so mesmerising yet distinctly Joyce. It’s a really transportative album. Words don’t do it justice – just make sure there’s space to dance when Aldeia De Ogum comes on!
Who are the artists who inspire the music that you make?
I have quite a varied creative palette of influences I like to refer to over a few different genres. I never want to settle on just one sound! Floating Points has always been an absolute go to for all elements of production. He has such a detailed ear and a real depth of control over the sound he produces – whether it’s creating serene ambience to visceral breakbeat to the warmest disco edits. I could honestly write essays on his production (I actually did a bit for my dissertation to be fair).
Within disco, funk and soul more specifically – The Reflex has really inspired me, particularly in his creative approach. By focussing on reworking and rearranging the already amazing content he’s able to get so much out of these remixes. It sounds so classic and so modern – you can spot his productions from a mile off. For this release, and a few other of my remixes, I’ve taken the same approach, focussing my energy on making the most of the original parts.
If you had to define the sound of Charles Vaughan, what words would you use to describe it?
Eclectic for one – I definitely seem to cycle between sounds and timbres every 6 to 9 months. My last EP consisted of deep house, breakbeat and cyclical ambience… I often will do 2-3 tracks in one genre area and then be like – you know what? I fancy trying to make something entirely different. I guess that’s the ADHD in me…
I’d say a lot of my tracks revolve around tension and release too – perhaps a little too much. I’m a sucker for deep long builds where you take simple ideas and layer them up to build tension until you have this ecstatic moment of release! That’s the absolute best feeling. Getting everything fine tuned perfectly to work together towards that moment… Now I say this out loud, maybe it’s just that I like big drops.
What can you tell us about the original artist on your new release?
To be honest, not a lot! That’s on purpose as well… I have a tendency to (very fairly) remix and edit much more well known tracks by artists I adore, which is a great way to make sure you’re passionate about what you’re making. But I really wanted to challenge myself to become obsessed with reworking an unknown track from a group I have no personal connection with – concentrating fully on the music.
Sound Experience aren’t the biggest band in the world really… They sadly only recorded two albums and fell into relative obscurity. They’re most likely heard as samples in some pretty great records; ‘9/11 Is A Joke’ by Public Enemy, ‘Paid In Full’ by Eric B & Rakim and more. But, if you do happen to find a hidden gem from this band, you can be sure it’s going to be a full throttle funk affair.
When did you first discover this record? What is it you love about it?
I actually found it whilst digging for some unknown gems to rework… I was browsing through all these slightly forgotten tracks that had full multitrack stems and suddenly came across this – it was a real lightbulb moment. My best work is when I have these instant lightbulb moments. I’ll immediately know exactly how the record will sound – I can sonify the entire experience in a moment. This was one of those moments.
What resonated the most was the vocals and strings – they just soar so high in the mix, it’s such a beautiful compositional element. It’s that soaring sound that’s come to define so much euphoric disco and soul and this was just begging to be amplified. Plus, there was 8 minutes of instrumental jamming! Plenty of amazing licks and moments between the band to explore… It was really the perfect starting point.
What did you do on your rework? How did you enhance the original?
I always start with the arrangement otherwise I can get bogged down in the tiny details of the sound and that can kill a track right at the start because you lose sight of the bigger picture. That, and there were a lot of parts to sift through too.
I started slowly, bar by bar, rearranging all of the parts – experimenting with different instrumentation, how the different sections could interact and most importantly – cutting the fluff. With tracks like this, you often have a full band all jamming away at any one moment… and not all of it is golden so it’s good to identify what ideas are the strongest and structure the arrangement around that.
Once that’s done (and that takes a ton of time when you’re doing a 10 minute rework) it’s time to start producing all of the parts. The quality of the stem recordings were… less than ideal at times, so there was a lot to clean up. I wanted the sound to feel modern and full. It needed to cut through when I played it out – but I didn’t want to take this too far and make it overly polished or too bright. There’s a balance to strike – big shout out to Nick Powell who mixed and mastered the record. He’s an absolute genius and really helped me hone the sound of this record. Plus, I always send him pages and pages of notes and he never complains!
Tell us about the remixer on this release? What other stuff has he done?
Theon Bower – what a lovely lad. We met when he was the artist liaison at Brixton Jamm for one of my bookings and we hit it off straight away. We ended up doing a quick (rather drunk) b2b at another Jamm night and he offered to let me use his studio for working on this track. Once I’d finished it, I desperately wanted to have some contrasting remixes to help fill out the record and he came to mind straight away.
He’s been smashing it at the moment launching his own label Swung Out Records. He’s put out some cracking tracks and I’ve got a ton of respect for anyone that starts up their own imprint – it’s a tough role, especially in today’s climate. Plus, he’s part of the team behind Pangea Disco. Those lot know how to put on a good party! So it’s safe to say he knows what he’s doing on stage as well as in the studio.
When he sent over the initial drafts, I was really surprised by the direction he’d taken it… I thought he was going to go in a lot harder and create something way more pumping. But it made total sense – it’s just such a groover, just like my remix, just like the original – it’s got that Theon energy to it! Some amazing bass work in there too… I recommend listening at sunset for the best experience.
Where should we listen to your new EP and what should we be drinking?
You can listen to it on Spotify, Soundcloud, other streaming platforms too as well as supporting it on Bandcamp! Sadly there are no physical copies BUT we will be selling an exclusive accompanying 32 page zine at Love Vinyl in lieu of vinyl – we’re running a launch party there on Saturday 18th!
What drink should you have? What a great question. Part of me wants to cop out and say that you should have your personal favourite drink, as the record is about self love and growth, but we can do better than that… It has to be champagne on ice. We deserve the finest things when we get to boogie to the finest of grooves; and this is truly a champagne groove.
What else have you got coming up in 2022?
Hopefully getting some rest after this release is done… just kidding.
I’ve got a wild 10 minute euphoric remix of Natasha Beddingfield coming up as part of my little ‘GUILTY PLEASURES REDEFINED’ series on Bandcamp. I’ve got some live dates at Brixton Jamm supporting Dr Packer and Craig Charles so they’ll be an absolute blast. We’ll also be putting on the OOX monthly parties again once Autumn comes this way. Hopefully I’ll also be making time for bouldering also which is my other passion. But mainly, I want to make some time to dance myself – I want to feel the energy of the dancefloor once more. It’s what inspires me the most and I’ve no doubt it’ll set me off on another wonderful journey of musical creation…
Campo Sancho is a small independent festival, detailed and home-made with Love and Dedication……we say festival…..it’s actually like the best warehouse party in a field you’ve ever been to! It’s located deep in the Hertfordshire countryside, less than an hour from London. We’ve taken our learnings from over 25 years of Carnival, numerous warehouse jams, boat parties and joyous gatherings and planted them all in a stunning, magical site, surrounded by trees.
Campo Sancho 2022 takes place from 29th to 31st July……. come and join the ever – smiling dance floor!
One of the excellent DJ’s playing at Campo this Summer will be ANDY WILSON, we caught up for a quick chat about music, festivals and campfires…
Hello Andy. Where are you today and what are you up to?
I´m at home in Ibiza picking tunes for next week´s gigs and radio shows
What can you tell us about Campo Sancho?
It’s been one of the highlights of my year since my first time in 2017 and I wouldn’t miss it for anything . Carnival was wonderful for 20 odd years but it was the right time to downsize and move to the countryside.
What are you most looking forward to at Campo this summer?
Catching up – at last! – with loads of lovely people , some of whom I’ve known for well over 30 years , and having a proper old knees up! Oh, and playing some fab music too .
What kind of vibe can we hope to hear from you at a festival?
I’ll be DJing on Saturday afternoon so I’ll be bringing some sunshine vibes from Ibiza and a bunch of Balearic bangers.
Tell us a track that is sure to make the crowd bounce in the field?
I love this and it’s been smashing it for me recently . Big up Dave Lee !
What other artists will you be dancing to at Campo Sancho?
All of them. The line up this year is mega. But especially looking forward to DJ Eren and the Sancho boys,Baz & Pedro (aka Dicky Trisco & Pete Herbert), Freddy Love and Kelvin and Trevor and Matthew and Heidi and .. yeah! All of them!
Are you a happy camper or will you be cabbing it to the hotel?
Bell tent of course!
What’s your top tip for festival fun?
Pace not disgrace kids.
Who will you be grabbing for a beer and a chat around the camp fire?
I’ve got so much catching up to do with my long-time family it’s going to be emotional !
Campo Sancho is a small independent festival, detailed and home-made with Love and Dedication……we say festival…..it’s actually like the best warehouse party in a field you’ve ever been to! It’s located deep in the Hertfordshire countryside, less than an hour from London. We’ve taken our learnings from over 25 years of Carnival, numerous warehouse jams, boat parties and joyous gatherings and planted them all in a stunning, magical site, surrounded by trees.
Campo Sancho 2022 takes place from 29th to 31st July……. come and join the ever – smiling dance floor!
One of the excellent DJ’s playing at Campo this Summer will be SI KURRAGE, we caught up for a quick chat about music, festivals and campfires…
Great to talk to you Si. What have you been up to lately?
The past few years have given me a rare opportunity to focus on my Weekly Stranger Things Show (Currently 130 episodes in.) 2-4pm Every Tuesday, Point Blank radio. I’ve been focused on supporting new music from Aquamelon, Ramrock, BBE, Tropical Disco, Fran Ray Music, Rupert Davis, Buried Notes, Ray Mang, Leo Zero, Pete Herbert, and Copyright! Summers coming and I’m looking forward to getting back on the wheels of steel and having a bit of fun doing what I love. Upcoming gigs include our own night Size Doesn’t Matter with Mr Shiver, Mastomic and Sassy Wiley, and various bars, clubs, and events in and around London.
Give us the lowdown on Campo Sancho?
I’ve been blessed to play at Campo Sancho Every year since its conception. It’s a small and ever so friendly crowd; it’s secret is keeping it that size, which means there’s an army of dedicated and friendly supports who make it each year! It was lovely to see some new faces last summer and hoping to make more new friends this year as well as catching up with so many others! Last Year we warmed up for Norman Jay and as we passed the baton a rain storm descended, Norman busted Jazmina “Happy in the rain” and kept the crowd dancing. It was a truly magic moment.
What are you most looking forward to at Campo this summer?
Seeing lots of new artists making their debut and seeing old friends too!
What kind of vibe can we hope to hear from you at a festival?
Dubby Afro Tinged Disco, Spaced Out Funky Beats new and old with a good splash of Deep House too. Expect the Unexpected.
Tell us a couple of tracks that are sure to get the crowd going?
Athens of the North Chicago
N Gynn Pull Up
Who are you looking forward to hearing play at Campo?
Hilit Kolet, Erin, Freddy Love, Omar, Dave Lee, Simon Lee, Colleen ‘Cosmo’ Murphy, Pete Herbert and of course Matt and Jim.
Bell Tent of Premiere Inn?
Bell tent every time!!!!!!!
What’s your top tip for festival fun?
Don’t camp near the family bit if you wanna make late night noise, and be kind loving, respectful and generous at all times. It’s a very inclusive festival with people from all walks of life just getting down for the groove of it. Plenty of glitter and lots of smiles please!!!
Who will you be grabbing for a beer and a chat around the camp fire?
Anyone who’ll put up with my jibba Jabba, but generally I’m too busy dancing or falling over 😊
A collective of musicians devoted to walking the blurred lines that divide disco, funk, boogie and house, Kokoro Disco San first appeared on the RNT radar with their 2019 “Isla Fantasia” release on Rocafort Records.
KDS now brings their uncanny ability to capture the mood and instrumentation of classic disco and soul with the uplifting summer anthem “Sunshine” and the Candido-esque sonic journey “Jungle Deep.” Rounding out the EP are two remixes of the title track by label co-head JKriv, who delivers an extended acidic exploration with his Beach Burn Mix, and a bumped up yet loving treatment of the original song with his SPF76 Mix.
I’m Miguelito Superstar, one third of Kokoro Disco San. The other two thirds are Lalo López and Thompson (aka Javi López). Together we are Kokoro Disco San, a musical project devoted to disco and other related sounds.
What city is it you live in and what do you love most about your city?
We live in Barcelona, a great city known for the nice weather and good food. What we like most about it is that it is (and has always been) a cultural melting pot with lots of people from different corners of the world meeting and influencing each other here.
Who are the artists that have inspired the sounds of Kokoro Disco San?
We are mostly fans of classic funk and disco sounds but from there we also favour genres that evolved from there like boogie, house and many others. We like some of the nu-disco sound that has updated classic disco with light touches of electronica which is very appealing to us. There are many artists that inspired us, too much to list them all, but I’d say that songs like Candido’s “Thousand Fingers Man”, Idris Muhammad’s “Could Heaven Ever Be Like This” or Masters At Work (specially under their Nuyorican Soul moniker) give an idea of the kind of sound be lean towards.
What are the key elements of the ‘sound’ of KDS?
We try to find a balance between programmed and live elements so that we can have the punch of electronic beats combined with the vibe of live musicianship.
Do you think your music fits into a box or genre?
Disco is no doubt the most fitting box for our sound. But there are many sides to disco. Balearic is usually used to describe our sound, but I don’t think defining music is our job. I can tell you we like a nice beat, a good bass line, beautiful harmonies and always favour a Latin tinge thrown in for good measure.
Are KDS liver performers too?
KDS is a studio project (at least so far), so we’ve never played a live gig. On the other hand, me and Lalo have been playing together for more than 25 years with our band Fundación Tony Manero, a band devoted to more analogue funk and disco. Thompson does also play bass with garage and rock bands Los Critters or Boyle Heights from time to time. I can tell you that my last gig with Lalo and Fundación Tony Manero was great: lots of people dancing and singing to our songs. We are facing our farewell tour, so it gets a bit emotional at some points, but that’s great.
Talk us through the Sunshine EP a little?
The ‘Sunshine EP’ is made out of a couple of original tunes (“Sunshine” and “Jungle Deep”) and two remixes of “Sunshine” done by JKriv. “Sunshine” is a piano driven disco tune with a bit of a Latin twist. The piano was played by our good friend Manuel Dabove who did a great performance. It also features Clara Gispert on vocals singing the chorus and giving a smooth touch that fits the song perfectly.
“Jungle Deep”, the other tune, is a percussion heavy affair that Brings Candido to mind with a little afro touch at some points. We had Ernest Martinez come to the studio and play lots of percussion tracks that we used at will afterwards. Not on the 12” but available as a digital bonus is a vocal version of “Jungle Deep” with spoken vocals provided by Marina Molina that gives a different approach to the song.
JKriv’s remixes are both great and we are super happy to have him remix our tune. The SPF 76 remix is quite respectful with the original song but rearranging the elements to give more punch and a more modern sound. The Beach Burn mix is just great and adds some acid lines to the tune making it way trippier. Both work fine for different moods and moments of the night.
Where was it made, and how long did it take to make it?
We started working on “Sunshine” a few weeks before the Covid 19 crisis arrived in Spain. Suddenly everything music related stopped but we managed to keep working on line, sending ideas and tracks back and forth from our respective homes. I was taking all these ideas and tracks and putting them together in my studio and when the song finally took shape we thought it would be great to have a good piano performance on it. That’s when we sent the track to Manuel Dabove who was (as everyone else) locked down at home and bored to death. He quickly jumped to it and did a great piano track.
Since he already had the song we asked if his girlfriend, Clara Gispert, would rerecord a vocal hook we were using on the track and weren’t that much fond of. “Since you’re setting up to record why don’t you give a try to the chorus and see if something comes out?” we asked. The answer was much more than we expected: she hit us back with the wonderful chorus melody and lyrics that gave the song an extra mellowness.
Meanwhile we also started working on “Jungle Deep” which was worked more or less in the same fashion (online exchange of ideas and tracks). When the idea was well defined, and as lockdown was easing in, we could meet for a session with percussionist Ernest Martinez who brought lots of percussion instruments and toys and delivered a handful of great tracks that helped a big deal to create the “jungle” atmosphere we were looking for. Some weeks after, feeling the song could benefit for some vocals me and my girlfriend came up with some lyrics to put on top of “Jungle Deep”. Our friend Arina Molina (a Puerto Rican singer and composer living in Barcelona) came to record them and did an awesome performance.
Where’s the best place to listen to the ‘Sunshine EP’, and what should we be drinking while we’re listening to it?
I feel the tracks on the EP suit different moods and moments which is nice. The original “Sunshine” version could be listened at a beach bar while drinking a nice Moscow Mule. “Jungle Deep” is a darker affair so I’d suggest a small and dark club with some Hennessy (plain, no ice please) at hand. Same ubication and drink could work for the SPF 76 remix whereas the Beach Burn Remix suggests to me bigger venues (even festivals) with lots of water to hydrate!
Tell us something we should know about Kokoro Disco San?
We are three regular guys around our forties, we are all fathers of small, wonderful kids, and though nowadays we can’t do it so often, we have spent many hours dancing in clubs well into the first hours of the morning. We love dancing (although we are more self-conscious now than we used to be), we love club life and -most of all- we love to see people dancing and prancing.
From the very beginning in 2011 the concept was simple and crystal clear. Mad Mats & Tooli’s new label Local Talk had two main focus points. First, the actual music was to be inspired around those magical 4/4 house rhythms…and beyond.
Second, the logo! The idea was that a simple and direct visual point together with a strong dance MUSIC message would make the label stand out among other labels in their northern neck of the woods. In Scandinavia, the main theme is electronic 4/4 rhythms (techno, tech-house etc) and with Local Talk being more inspired by black dance music this has made them the black sheep in the hometown of Stockholm.
To set the musical direction straight from the very start they released Bassfort’s ‘Moon Shadow’ which got instant attraction from both house heads and the more open-minded clubbing community. With its warm, melodic chords, infectious piano theme and big strings it’s always been the label’s fave jam from their now +150(ish) releases. When they decided to choose a track that would define the label for their 10 year anniversary, the choice was simple.
Mats & Tooli thought long and hard about who they wanted to interpret ‘Moon Shadow’ and after months of discussing options they decided that the only one they could trust to give the track a quality boost was NYC legend Joe Claussell. Back in the late 90’s, Mats used to book Joe for his legendary Raw Fusion parties in Stockholm so the connection and mutual respect were already in place. The result is a +11 minute long musical house journey that builds and builds until those characteristic piano chords make an entrance and transform the dynamics into a rainbow of sounds. Epic is not a word big enough to explain this grand musical production !
But the goodness does not end there, we’re only halfway in on this anniversary release. The blood brothers Javi & Luis aka Kyodai (and 2/3 of Bassfort) made their own mix on the B side track from the original release, Moonlight. As schooled jazz musicians they diverted from the electronic soundscape and went for a live jazz-funk production. The final product is a warm and musical version with live drums, bass, piano, strings and even vocals from the brothers themselves. The track almost comes across as something 4 Hero would put out back in the day.
Every self-respecting house head will know Local Talk, but just in case there is someone out there that hasn’t heard of the label, please introduce yourself to our readers.
We’re a house music influenced (and beyond) record label based in Stockholm, Sweden. Since 2011 we’ve put out music from artists as Kyodai, Crackazat, Art Of Tones, HNNY, Soulphiction (RIP), DJ Spinna, Jamie 326 etc. Even though we’re originally inspired by US house we’ve released all types of underground dance music. Weather it’s deep house/techno, broken beats, disco or vocal house we’ve always tried to keep it on a slightly soulful and melodic tip…cus’ we like dance MUSIC J
You based in the city of Stockholm. What is it you love most about your city?
All the water around the city is amazing. But overall, it’s truly one of the most beautiful capitals in the world…if u ask us 😉
If we ever get to Stockholm, where should we head for a cold beer and some good vibes?
Go to the Mosebacke terrace in the soutth district (the best area in Stockholm). Up there you get an amazing view over the city.
Local Talk has been around now for a decade. How do you feel the label has evolved over the years? Are you very different now than when you started?
We’ve become more mature and more musical. Initially we were pushing the 90s sound (but not exclusively)and now we’re much more open towards allaspects of underground dance music. We’ve grown up J
Is there a strict music policy on the label, or if its good it goes? How does it flow for you?
If it makes us bump (not pump)…we’re on!
Was it a difficult or a natural choice when considering what to make your 10th Anniversary release?
It felt natural going back to our very first release and update it with two amazing remixes.
Why do you feel this record is so special?
First, we have so many beautiful memories of the first release and to be able to put it out again with remixes from our good friend Joe Claussell and the Kyodai crew is to put it simply…special J
What other releases are the label working on right now?
Loads, we got singles coming from Sound Signals (Craig Smith), Shaka, Soulphiction vs Netzer Live, Coflo & Lee Wilson, Kyodai an album from Laroy and also our second compilation album “Local Talk – 12 and ½ Years Later”. We’re busy!
Campo Sancho is a small independent festival, detailed and home-made with Love and Dedication……we say festival…..it’s actually like the best warehouse party in a field you’ve ever been to! It’s located deep in the Hertfordshire countryside, less than an hour from London. We’ve taken our learnings from over 25 years of Carnival, numerous warehouse jams, boat parties and joyous gatherings and planted them all in a stunning, magical site, surrounded by trees.
Campo Sancho 2022 takes place from 29th to 31st July……. come and join the ever – smiling dance floor!
The Nearest Faraway Place 