Beautiful new release from Chris Coco today – ‘CaliforniAmbient‘ is a dreamy beatless remix of ‘California White Sage‘ from his superb recent album ‘Jamu‘ out with a suitably transcendent video. Chris says it’s ‘a breathy ambient piece perfect for contemplation, meditation or yoga’ – we say; leave it on repeat and prepare for an out of body experience, sublime…
Released November 17, 2021 – via Bandcamp – here or via player above.
Bruise are back with another slab of timeless Detroit inspired deepness in ‘When Pianos Attack’ (Listen & buy via Bandcamp link below). We got a chance to talk to Christian from Bruise about his story in music and the development of his sound:
Please tell our readers about Bruise
Bruise originally started in 2015, as a collaboration with Diesel (from Xpress-2) and with a remix of a track for James Kumo’s label. The project has evolved from there and I would describe Bruise now as an ever-evolving musical collective. The sound to date is heavily influenced by early Detroit, 90s house and techno but the intention is that future releases will explore many electronic genres.
Where are you from, where are you now?
Originally from Birmingham now living in Enfield North London.
What are you up to today?
Currently working my day job at PRS for Music which involves making sure writers get paid for when their music is used. So, if any of your readers make music make sure they join PRS!
Talk us through your new single.
‘When Pianos Attack’ was written at the end of last year and it’s a big old piano house stomper. Whilst it clearly has a nod to ‘that 90s piano sound’ with hints of ‘Masters of Work’ and ‘Kerri Chandler’, I feel it throws in a bit of a modern Bruise twist with arpeggiated piano rifts, dramatic operatic choirs and, as always, a shed load of strings. It’s a bit of a banger.
Is there a process of production that you follow in the Bruise studio?
All productions evolve from initial jam sessions in Ableton and unless I’m working on a remix, I never start with any idea of what I want to create. I just try and enjoy the process and then when a good idea starts to develop, I work quickly to get the bare bones of an arrangement down. Then I build on that idea until its finished. I tend to have many tracks on the go and usually work on an idea for no more than 1-2 hrs to maintain the energy and try and avoid creative fatigue. I think when you jump between tracks and work quickly you tend to make more honest decisions. It’s when you’ve listened to something too many times and for too long that the brain starts to hear the track in a non-constructive way.
Who would you love to see playing this track?
Anyone as it’s such a buzz and honour to have a DJ choose to play a track you’ve created.
It’s always amazing to hear a track played on radio so if any of the specialist show DJs on Radio 1 gave it a spin, which would be ace.
What’s the best time in the night to enjoy it?
I reckon it’s built for peak time or end of night business
What was the last piece of music that you bought?
Bad with Phones – Marinade
If someone wanted to get to know your taste, what album should they listen to?
Going to go for an oldy but Future Sound of London – Accelerator
Tell me what you think is one of the most important records of all time to you?
Well, there is a big bag of records that could fulfil that criterion but a record that absolutely blew my mind at the time was Future Sound of London – Papa New Guinea
What advice would you give to young producers in the studio?
Try to find time to create music every day. When you listen back to your own productions, do so away from screens and other distractions. Share your music with your mates and other producers, listen to their feedback but also take time to find your own identify and carve out your own sound. Most of all just enjoy the process.
What have you got the pipeline?
New Bruise originals, some more Bruise remixes and even a Bruise edit.
Bruise release ‘When Piano’s Attack’ on Foundation Music 12th November.
UK based Balearic maestro James Bright returns to release action with his new ‘One Wish’ EP Featuring Danish vocalist MALO out now on Sveva music. We got the chance to have a word with JB about this cracking new four tracker:
Please introduce yourself to our readers
I guess I started making music in my early teens when I took up the guitar. I bought myself a Shure SM58 mic and a Tascam 4-Track and was constantly writing little hooks. I tried the whole teen band thing but unfortunately, I always fell to pieces when it came time to play on stage. I started producing around 1999 when a mutual friend introduced me to Steve Miller (AFTERLIFE). We went on to form the downbeat act LUX. Northern Lights, the first track we wrote together was picked up as the opening track for Café Del Mar Volume 7. We released a couple of albums as Lux. As a solo artist I released the album Little Things in 2010 which has been followed by string of eps on various different labels.
Tell us where you’re from and where you are now?
I was born in Kent, but my family moved to Macclesfield in Cheshire when I was 2 years old, so I think I can claim to be a Northerner these days. I’m still based there now.
Talk us through the ‘One Wish EP ft. Malo.’
It started with the track that would eventually become ONE WISH. I wrote the backing track to send to MALO after being introduced to her by Mark Lusty from SVEVA MUSIC. I’d recently heard Malo’s vocals on a couple of THE SWAN & THE LAKE tracks that she features on. I wanted to write something for her that was a little more up tempo (up tempo for me at least) with quite tough drum sounds but that was still quite soft and gentle, something that I thought would really compliment her voice. I was really happy when I got her vocal back. The other three songs on the EP came together quite quickly after that and I thought they all worked well together as an EP.
Tell us a little about Malo
Malo is a Danish singer- songwriter. She released the album “WHO AM I” in 2019 through Hans Zimmer’s music company EXTREME MUSIC, with a follow up Ep again with Hans Zimmer currently being set for release. Early this year saw her feature on tracks by fellow Dane THE SWAN & THE LAKE released on MUSIC FOR DREAMS.
Do you have particular process you follow when you make a record?
The production process for this Ep was the same as all my previous productions really. I very rarely go into the studio these days with any pre conceived ideas. When writing I just like to sit with a blank canvas and see what comes out. It could start with a beat or bassline or even just a sound I find inspiring. As you can imagine writing like this, I have hard drives full of sketches of songs that at the time didn’t go anywhere. I guess the good thing about that is I have to hand a library of sounds that at some point I found inspiring to delve through. Once the Ep was finished, I handed it over to Steve Miller (Afterlife) for mastering. As you can hear from his extensive library of top releases over the years Steve is the man to go to, he gets such a full and complete sound.
Who would you like to see playing it?
Hopefully, anybody that likes it. Though I guess it’s always nice to know that other producers and DJs are playing your music. When getting back the PR reactions it’s always a massive buzz and privilege to not only see some legends of the scene (Don Carlos) have received your music but to have review and really like it.
Where’s the best place to enjoy it?
I like to think the tracks on this EP would work equally well on the dancefloor or watching the sunset with a cocktail in hand.
What was the last piece of music you bought?
Just the other day I bought the beautiful new PROJECTIONS EP ‘Original Cell.’
Tell us, what do you think is one of the most important Balearic record of our time?
That’s a tough question……Even though I’ve been producing and releasing “Balearic” music for over 20 years now, compared to a lot of people I suppose I’m still a newcomer to the scene and my depth of knowledge isn’t as great as others. But some important records for me personally are….
Cantoma – Pandajero
Afterlife – Dub in ya Mind
Nightmares on Wax – Les Nuits
Penguin Café Orchestra – Air a Danser
Sabres of Paradise – Smoke Belch II (Beatless)
The Grid ‘Floatation (Subsonic Grid Mix)
What is the best musical advice you’ve been given?
“Use your ears and don’t rush” There’s no big secret to producing apart from learning to use the gear you have and listen, in fact spend hours and hours listening don’t be in a rush to finish something and “Find your style” don’t try and be the next big thing by copying what you think will sell.
What else do you have in the pipeline?
I’ve got an Ep coming out next year on Phil Coopers NUNORTHERN SOUL label which I’m very excited about and I’ve just started a collaboration with Joe Morris which is still in the early stages but is sounding great so far. Also, I’m just discussing the release of another Ep on a label that’s starting up again after a break, which fingers crossed I’ll have some news about very soon.
James Bright releases ‘One Wish ft, Malo’ on Sveva Music 15th November – Listen / Buy here.
Copenhagen-based musical adventurer Ground Plane Aerial returns with the latest instalment under his recently birthed moniker – Returning with the second outing on his freshly birthed label Theorama Records.
The Champagne Test EP is a solid testimony to the dawn of a reinvigorated dance scene in his homestead
Ground Plane Aerial is the latest incarnation of the mysterious man behind the highly regarded Paxton Fettel project. With countless releases under his belt on much respected labels – including Delusions Of Grandeur, Kolour LTD, Apersonal, and regular home Greta Cottage Workshop – the new nom de plume is an exciting new vessel from where he intends to advance his odyssey into house-inspired jazz-funk futurism. Fresh from inspired releases and remixes on Apparel Music and Tensnake’s True Romance.
Swirling acidlines and funky bass guitar dominates the airspace as the 909 ensures a solid foundation to an enigmatic “champagne sparkle” space trip.
Delicate swirls of silver clouds orbit a core of funk-laden motifs on the dreamy yet driving force which is “Later Bloomer”- Warm as an Egyptian summer night.
RELEASED: 24TH OCTOBER – Listen & Buy via Juno here…
Attraktors are a power trio, currently residing in Nottingham. Bass player John Thompson is a veteran of the 2-Tone ska revival, having done stints with both Bad Manners and The Selector. He also spent time in Davy Henderson’s wonderful avant / art pop outfit, The Nectarine No. 9. James Flower was a founding member of post-rockers, Six By Seven, where he supplied saxophone and keys. Antony Hodgkinson previously beat the skins for Derby “alternatives”, Bivouac, and collaborated with Julian Cope. Their debut, self-titled LP was released to some acclaim in the press, on Ali Renault`s Vivod label, last summer. The set referencing influences such as Depeche Mode, Eno, Harmonia, Human League, and Kraftwerk. Ron Basejam, from live-wire festival favourites, Crazy P, has now remixed two choice cuts for Brighton`s Higher Love Recordings.
Heavy Water rushes in on a siren-like synthetic fanfare, while dramatic, rattling percussion promises some kind of imminent lift-off. Mr. Basejam doesn’t disappoint, delivering a dynamite, deep, bottom-heavy chug, tested by depth-charge sonar blips. A menacing LFO arpeggio propelling the piece out onto the peak-time dancefloor. Its snarl softened slightly as Ron launches that fanfare once more. Moody, magnificent, body-moving, it drops down to a conga break, and then hits you with some real horns, before bringing that bolshy bastard of a beat back.
Maximum Minimum initially subdues, suckers, listeners with a more serene start – one of cinematic synths, and kosmische squiggles. Counterpointing this gurgling gear with theremin sighs and epic keyboard arcs. Suddenly this is all then set running, racing, to a riot of rumbling motorik funk. Chunkily bass-ed, its punk edges are eventually buffed by pretty prog harmonies, as the track evolves into an opulent, vocoder-ed, expanse. A piano rolling and rolling, as that robotic voice readies you for ignition on this righteous cosmic rocket.
This 10″ single comes with a free digital download of the Attraktors debut album. Just tag in the label @higherloverec into a picture or video of your purchased copy on instagram, facebook or twitter for a download code.
OUT NOW – Listen / Buy via Juno here.
Northern Life Records are proud, and a little dizzy with excitement, to present Freak Seven’s debut long player ‘Ya Bosmang’.
After taking a hiatus for ten years, Freak Seven recorded and mixed this album in Manchester during 2019-2020. The album is a ten tracker running at a little over fifty minutes with its musical roots treading dark dubby waters, Manchester warehouses and Detroit Electronica
The album starts with ‘This Ain’t Hip Hop’ a mid tempo electro groove with a choppy sequenced dissonant synth bassline, TR808 drums and a string line at the end which is a head nod to New Religion and Al Nafyysh.
Ya Bosmang is the title track that starts off with a chin stroking chord progression and then steers into more visceral Beltalowda territory.
This Hurting In Me features the vocals of the wonderfully talented Victoria Unthank (no not those Unthanks but maybe a distant cousin?). A dark dragging bassline with minimal drums and a haunting vocal.
The album closes with ‘Drop It’ a tune that would fit quite easily in West London or a UR party somewhere in Detroit.
released October 1, 2021 – buy via Bandcamp link above…
Session Victim and Erobique join forces once again for a beautiful cover version of Mark Almond‘s “The City” starring Jamie Lloyd’s enticing vocals and featuring Linnart Ebel on rhythm guitar.
Ever since Hauke Freer stumbled over Mark Almond‘s final studio album Other People’s Rooms at Montreal record store Death Of Vinyl a few years ago, the pair would regularly finish DJ nights with this 1978 recording of their hit single “The City” – and since then, the idea of recording their own rendition had been tossed around frequently. Carsten “Erobique” Meyer was not the first but really the duo’s only choice to see this through and well, just listen to the impeccable Rhodes/Clavinet combination he came up with.
However, it is Sydney’s Jamie Lloyd who steals the show and takes the song into his realm, putting his very own stamp and character on this certified classic. Long time collaborator Linnart Ebel completes the band with his ever subtle rhythm guitar. The two, three, four, five man house, not house band branches out for all the right reasons and this is the result.
Released September 24, 2021 listen / buy via Bandcamp here or via player below…
Everybody’s favourite month of every Ibiza season has long deserved an adequate ode, and here it is in full dub version! Most of the tourists are gone, the beaches are empty, the water as clear as the skies and the sun sets in an even more magnificent way. Maybe that’s why there’s a certain amount of sweet, almost tropical melancholy in the air while she does. And chances are it sounds a little something like this… down on that beach. Do you remember? Never a cloudy day!
Hard to believe it’s been 3 years since Jungle Fire first graced the RNT catalog, and now the west coast boys of summer are back with a 5-track remix EP of varied Latin soul funk vibes, reimagined by a stellar cast of remixers. On the A-side, Colombian juggernaut Felipe Gordon takes Atómico fully nuclear with a stomping bass-heavy house remix, and JKriv goes elektrik with his Elektrikossa dub that sprinkles dubbed out and acid elements over a pulsating rubbery groove. On the flip, turntablist Nu-Mark delivers a punchy breakbeat take on Atómico, Jungle Fire member Patty B goes full-on boogie vibes with his Snake In Da Bronx Dub of La Kossa, and the record winds down with the dubby halftime flavor of Samual Miles‘ remix of Biri Biri. Whether in the open-air club, block party or rooftop, this record is the sound of summer 2021!
Released September 17, 2021 – Listen & Buy via Bandcamp here or player below…
This is Afterlife’s late Summer Balearic update for 2021, and it’s quite a package. Atmospheric title track, Moksha open the set with its breath of mysterious voices, wigged out jazz and twisted techno vibes, an after dark soundtrack for sure. Ad Astra follows up with a delicate blissed out pulse of poolside melody. Abraxas is next up with it’s dreamy dubwise slo-mo beats. Completing the four tracker is another dub & delay heavy collaboration with Ken Fan, the Cafe del Mar resident under the name of Dreadbox. Essential listening for anyone hoping to make the Summer last that little bit longer…
The Nearest Faraway Place 