Search:want you

MERC is very proud to welcome Mark Seven as guest editor on E-Versions 7. It took a long time, a lot of telephone conversations, a lot of pleading, digging, sweat and tears to simply find out what TONY'S SLICE was after hearing it on Mark's Parkway Mastermix.
Turns out its MKVIIs attempt at recreating a live mix by Tony Humphries he heard on Kiss cutting 2 copies of the phone conversation back and forward forever.
With EV#7 looming we knew this would be a perfect opportunity to have a guest on the series, so we persisted and broke him down and he finally gave in to the pressure.
In addition to TONYS SLICE, MKVII has turned in a superb acid work out in the form of CASE STUDY 9.
"I WANT TO KNOW IF YOU HAVE ANY PLANS FOR THIS WEEKEND"

With their next carefully curated release, the Opilec Music label begins to shine a light on the roots of Italo with the reissue of an ultra rare and obscure synth Italo disco track by A. Avenue from 1984.

This is a special Record Store Day 2016 release and of course, Opilec Music has remastered the original vocal and instrumental versions and here include I-Robots reconstructions and two Flemming Dalum's reworks.

This is a track many labels wanted, but only Opilec Music have been granted official rights to this cult re-release. Originally released on Discover Records, this is the only EP

A. Avenue (aka Dario Ancona and F. Feleppa) ever put out and it now fetches high prices on Discogs. Once you hear the music, you can understand why: The lovably naive and innocent vocal version is seven minutes of cosmic and psychedelic grooves with perfectly retro melodies and pixelated chords that take you into outer space.

Mid tempo drums are full of funk and drive and the two part vocal—one crisp and clean, one filtered and dehumanised—really lend the whole thing a special robot feel that is second to none. As well as a stripped back instrumental, there is a fine I-Robots Reconstruction that is quicker and more driving.

The vocals are also more prominent, soaring up top above reflective synths and rainy xylophone style melodies. It is a real Italo disco gem that is followed by a spacious and tripped out version from Danish DJ and producer Flemming Dalum, who has been devoted to Italo all his life and works with labels like Mothball, Bordello A Parigi and Disco Modernism.

He also layers in more cowbells, punchy drums and claps that refresh it for a modern club, and buy the EP digitally and you will get a second Dalum edit that is the deepest of the lot - 100% true to the original.

This reissue will make many record collectors and Italo disco fans truly happy, and is just the start of some brilliant new projects to come.

Invite's Choice Records continues on the path chosen with a 3-track vinyl release which showcases some new and well-established names.

Hertz Collision has the honour of being chosen to be the only artist showcasing a track on the A-side. This eerie, melodic track sets quite a special mood for the EP to start with. The B-side is opened by Wrong Assessment with a track that's focussed on the low-end. This synth-driven track fits well in the mood set on the A-side, but continues with a heavier drive. The droning kick draws you in and makes you want to go dance the day away in smoke-filled rooms. Savas Pascalidis finishes the EP off with a banger true to his own style that relies on the drummachine for it's swing. This oldschool, loopy techno banger closes another outstanding EP by Invite's Choice Records.

During their European tour earlier this year, Canadian duo Jokers Of The Scene stopped over for a couple of days at Club Bizarre studio in Northern France. The two pair of producers locked up and came up with Betaville and Breakwater, two killer lo-fi and spaced out tracks. Betaville is a fuzzy dream that will make you dance in slow motion with your head in the clouds. Boasting a strong melodic and nostalgic feel, it unfolds its warm analog synth pads, old school sequences and drum machine to psychedelic effect. Imagine Boards Of Canada wanting to make you dance.. Even slower is Breakwater, a dirtier, chunkier track that ditches the softness of Betaville in favour of a more 'in your face' bass line and all together rougher attitude. It chugs along to old fashioned beat box claps and percussion and quirky synth melodies. Lastly Betaville gets the Timothy J Fairplay treatment of being violently pulled apart and chucked in all corners. Reminiscent of early Chemical Brothers music, a heavy beat slaps over agressive drugged up analog sound effects while a repetitive, haunting melody screams on top and reverberated vocals whisper in your ears. Scary.

Ostgut Ton reissues Acht of Zehn with original tracks by DIN (aka Efdemin and Marcel Fengler), Fiedel and Tobias.
2015 marked Ostgut Ton's ten-year anniversary, celebrated with an extensive 30 track compilation release, titled Ostgut Ton Zehn, spread out over ten 12 vinyl records housed inside a limited box set. This sampler sold out in no time, which is why Ostgut Ton is re-issuing these ten 12"es individually in 2016.
Bubbling synths, a stoic bassdrum, some live hi-hat percussion and synth pads full of bliss - what started as Marcel Fengler's and Efdemin's inaugural collaboration as DIN for 2013's MASSE ballet sees its continuation in form of Mono' on A1. On A2 Fiedel contrasts the opening track's cool sounds with an upbeat contribution: Probe-806 gently brushes Funk, Electro, Acid and even Boogie territory atop the general muscular rhythm.
Analogue synth aficionados are being served by Tobias.: Like A Drug is a minimalist Techno track with maximalist dancefloor effect through its use of haunting, distanced vocal fragments, discomforting alarm tones and crackling background textures. As with every good drug, you don't necessarily want more of it, but rather a longer duration of effect (in this track's case: 8:36 minutes).

Tapper Zukie is not only a successful recording artist in his own right but a well respected producer also.
In the mid 1970's he set up his own record label Stars to help nurture the many artists who were rising in Kingston,Jamaica.
In doing so he created a great catalogue of Reggae music that few artists have bettered.
For this release with the help of Tapper Zukie himself,we have picked the highlights of the Star label to make this great album.
All the artists are stars and all the tracks shine....
Hope you enjoy the set.....

Sometimes we don't remember how some situations have become out of control. We are left to ourselves in a losing battle. The time distorts everything. The rules change and leave us with nothing else but frustration from a world that no longer exists. But the music we defend is out of time. It offers us its purity and pierces our soul with its intensity. Let the music be and evolve by itself. Let's break down barriers and give up all that prevents us from listening, feeling and loving it at its true value.
Support - Gather - Discover - Create : Be authentic.
LiT is you, is them, is us. A community that gather talents around one common passion: techno and experimental music. Our first aim is to create relationship and meeting between
artists. Our approach is to accompany and help them on their way with full transparency : no booking fee, no exclusivity. We want to have no differences between artists, people and
promoters : we are only here for the music. We are one.

Black magic, what is that supposed to be A spell that seeks to do harm to others Usually yes, however Taron-Trekka are animated by the best intentions, rather aim for the magic of the night and as always want to merely destroy the dancefloors of this world in a symbolic way. In fact, nobody has comes to grief with the four tracks of their "Black Magic EP" (the last part of their "Magic" triology) - nevertheless, they possess a certain magic.

However, Taron-Trekka don't make jumbo jets disappear, they don't walk through the Chinese wall or initiate other cocky tricks à la Copperfield. They are more like thimbleriggers. Or card jugglers. You know, those guys who surprise you when you least reckon with it. Those who have already outsmarted your mind when you were still thinking that it was just about to really begin. Taron-Trekka have the groove and cast a net of loops, which magically creates a tremendous energy. Loops with which the smallest shift can open up worlds. Worlds, which admittedly appear accessible, but are hardly decipherable. This way, tools become magical tracks. Furthermore, house becomes a music, which brands itself to the last corners of a soul. Just like the trick that you haven't understood until today.

A1 Black Magic Taron-Trekka's ride through the night starts funky and dry with the title track of the EP. The effects bleep here and fade away there, however over distance a magical pull develops. A pull that can only be escaped from with great difficulty.

A2 Monofile Regarding "Monofile", Taron-Trekka conjures a groove as selfwilled as enchanting by initially making vocals and keys appear on a dead straight beat and then letting this very same one stumble over itself. At the right moment it engenders at least as much "Ohs" as "Ahs" in a club, you bet.

B1 Red From black to red, from night until morning. For exactly this moment "Red" was made, which brings every last person to the next afterhour with its swing and depth.

B2 Distance Entirely against its own title, "Distance" may indeed affect one deeply. Namely then, when one wants to delve into funk as subtle as extensive. That is Jan Jelinek at a gallop or SND with more punch. Both are fantastic

With House Warming - Andy Vaz returns with his 3rd full lenght album on his own Yore Imprint. Due to Andy's half Indian roots, he is lucky enough to owe a Beach House just outside of Mangaluru, South India in the State of Karnataka. - where most parts of the Album were written over a period of 6 months. In this totally isolated, entirely tourist free hidden spot, which had become Andy's second home over the past years, he found himself away from the usual routines of western life, to find himself in a position to simply sit down and create. The result is House Warming". As the Title suggest's - think of house, sure and no doubt- but here on this album, thought all the way thru from beginning to end. The result then is House Music in all it's aspects: The Soulful, the deep and the raw or if you want - Deep House, Acid House, Garage/Vocal House - the joints range from downtempo, elektro and even hip hop beats. Oldschool you may think Maybe in spirit, as entirely produced with analogue synths & the roland series from 808, 909, 505, 606 to the original 303, but used in a modern studio environment. Andy Vaz is someone who has been around long enough to know how to programme his very personal idea's into the music - without denying influences such as Detroit, Chicago and New Jersey, to create something that goes further than a simple reflection of the past. Deep isn't a genre, it's a feeling. A warm feeling most of all. Be invited to come and see if you'll find it here.

A collection of nine reworks crafted by fans and selected by Nils himself form the 'Screws Reworked' re-issue, also featuring his original 'Screws'. The 2012 album 'Screws' by Nils Frahm, was the result of inspiration from his fans and friends while he recovered from an unfortunate accident, which saw him fall from his bunk bed located directly above his studio, which resulted in a broken thumb.

These nine intimate recordings were offered to fans to download for free and in return fans thanked Nils by sending him their audio and visual reinterpretations. Fascinated by the results, Nils then publicly asked his fans to submit their reworks or any form of art that was inspired by the release and all these submissions have been collected since on a dedicated website: It gave birth to the 'Screws Reworked' project from which Nils selected nine reworks to feature on a special edition re-issue which also includes his original 'Screws'.

'Whenever you have to decide between two things, you end up favouring one over the other. In the case of this record, I had to choose nine out of hundreds of songs - but I didn't want to follow this logic, I didn't want the songs to compete against each other. I never liked music competitions, neither when I was a kid playing classical music contests nor today when the best album of 2015 is awarded.

Having been in the situation to pick my own tracks for my own records, I knew that the only way to manage this tough job is to concentrate on the cohesiveness of listening to the songs all together. Screws Reworked should sound like a record, not like a random collection of tracks.

The motivation to make such a record came with the release of Screws in 2012 as a gift to my listeners. I thought about it as a starting point for people to make their own interpretations of the songs. The feedback was overwhelming. A couple of months later, we counted over 300 contributions. Without going through a selection process, they were all available only online until now.

It seemed essential to make it a real record as I imagined how happy it must make those who would find their names - in most cases for the first time - on a real record.

Now is the time to thank you all for your numerous and beautiful contributions. In case you don't find your track here, please don't think it stands behind the others. This record means, in fact, that some of the most beautiful songs couldn't be included as they simply weren't 'good neighbours' and because there is only one rework for each of my original compositions.

However all of you opened your hearts and minds and shared your uniqueness with us and I feel incredibly blessed by each and every single rework of Screws. Thank you!' - Nils Frahm.

There are some elements in electronic music that make them timeless, elements that if melted togheter they can give an impressive result, to the mind and to the body. Sawlin - Ursprung is the first album of the career of Sawlin, after his debut in 2010 he evolved like a wonderful orchid, an orchid that never followed the flow of the other flowers around him, but found his own way to the music. Ursprung is the result of an interminable evolution in the mind of the artist, 8 elements that complete a circle
builded on a very mysterious athmosphere, like a film that you never saw, but you always had in your head,
something more bigger then a memory, and something more deep then a picture. This 8 elements are the blueprint of the work that comes from the background of the artist, Deep raw imaginary pictures, mixed with oldschool wallpapers of a new wall based on an old concrete. Sawlin Mix the new to the old in a way that no-one can do, and probably no-one risked to do. This is the power of an artist that needs more attention and more time, you can feel at the first listening
that there is something really big going on, but you need time to understand what he wanted to create, miticulous details that he wanted to paint, in a way that we cannot see them at first, but we find them quite impressive after.
Sawlin present himslef in the most modern way he can, no compromises, he don't want to please you, he want to paint the future. in the most Artistic way possible. This is Sawlin - Ursprung LP on ARTS.

Common Edit makes a thunderous return with their 10th release and to celebrate, they're going big! 5 A whole extra 5 inches to be exact, extended cuts to keep the party going !
Some of the usual suspects providing the bits and pieces on this 4 course meal. Supplies for the A Side brought to you by the winsome duo of Khotin & Dane, and their two terrifically Eastern numbers 'IMHO' and 'System'.While the one and only Eddie C and Dane team up for a cut each on the B Side. Dane hands over a familiar giant with I Want More' and Eddie ends the trip with his psychedelic guarantee in his endearingly titled 'One For Dane'. No stamps this time, Dane's wrists need a break but no expense was spared in this deluxe offering.As usual, copies given away at the release party in Edmonton, Canada at "The Common"

Be With Records are honoured to present the hyper-limited (200 for the world) farewell single from cult Balearic maestros Korallreven. We've been enormous fans since the beginning so we are delighted to be collaborating on this special release. As per the band's specific wishes, we have created a special one-sided, full colour 7" flexi-disc. Over to the guys themselves for their parting words:

"It has been a trippie trip, sort of a dream come true, sort of a dream become shattered. Kinda incredible how Korallreven, with this weird name in Swedish, snowballed from bedroom recordings in Stockholm into a headline US tour, festivals around Europe, amazing collaborations and all this love we have felt from all around. It's been magic. But there is a time for everything and an end to everything too, also with Korallreven.

So, enjoy this single, as you would the last drop of fresh water in the jungle. It sort of underlines exactly everything we wanted to do from the beginning but never yet achieved. Lifelovingness, big words and melancholy in three and a half minutes, for the last time.

Finale Sessions is excited about this reease and we are greatfull to bring you Natan H hailing fro the "City Of Angels" Natan has this energy that we at Finale Sessions as of late have not been able to find so as you know we are estatic to get this out to the masses and give you a little taste of what is going on out on the Left Coast and we start with the track "Lignes" with its melodic pads and its wavering synths make for a latenight beauty for sure then we move to track 2 which is " 0 (Phase)"This track is another latnight stomper with moving chords and melodic drum patterns that keep it a smooth sounding pieace, Then last but not least we have the song "Invariant" (Feat.Jordan) This dub techno track is floor filler for sure with its heavy laden pads and synths and its monsterous sounds one of my favorite tracks at the moment . We want to thank you at Finale Sessions for giving us the opportunity to share this music with you and we hope you enjoy it

Tensnake's standard In The End (I Want You To Cry) release gets not one, but seven remixes. A nod to the good old remix double pack craze of the nineties, you will find them spread out over two plates. Ranging from a classic Tiger & Woods treatment to Prins Thomas quirkiness via Lone's happiness, two versions by Shan, the timid DJ Oyster as well as Pete Herbert's & Dicky Trisco's respectful re-arrangement, this one has it all: disco, techno, jungle (alomost!), house, cheese & chocolate!

Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.



Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.



Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical

revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.



Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'

This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.



While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.

Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.



The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.

This EP was made during a period where my whole outlook on everything was transforming. The Voidloss project started as an investigation, I was conducting a lot of research and study on the mind, the occult, on different thought modes, and the Voidloss project represented this. The idea was about a leap in to the void. A leap of abandonment into the dark, with total acceptance, total commitment. The idea was to lose myself to the void. This was mainly a spiritual journey for me, and could be best explained by 3 things, the void of Miyamoto Musashi from Go Rin No Sho, The concept of the Tao from the writings of Lao Tzu, and the concept of the abyss from the works of Aleister Crowley. Part of this journey deep inside the self was frightening and horrific, the total loss of self, of all identity and ego, and part of it was beautiful and enlightening. I wanted the music to reflect this, and I wanted the music to change as I changed, as I went to and through all these interesting places. In essence this was about freedom. So fast forward some years and I felt I had sharpened my mind quite effectively, the music had twisted and changed and flowed with me. At the point I began making the music for this EP, I had grown quite angry with the amount of conformity I was perceiving in life. Politically, socially, musically, there was this drive of conformity in the world. I think part of it, and only a part, comes from the prevalence of social media, the need to belong and to be liked, the idea of judging yourself and your works through the perception of others. Musically I felt that within techno there was a tendency for the music to fit within a set of confines dictated by fashion and hype, and this was reducing the diversity of the music, it seemed also that the practices of commercial music were seeping in to techno as the music became more popular. Hype and business driven decisions, brand building and so on. I always felt techno was more about art, and I began to get frustrated. Equally I felt that politically there was less and less choice, as all decisions seemed to lead to the same outcomes. I became more interested in the concept of anarchism, of the idea that government was no longer needed. I have always in my life had a drive to question everything. I've always been 'naughty' and rebellious and done things my way, to my advantage or my disadvantage, I could never accept being anything other than myself all the way. If everyone walks in one direction, I will walk the other way, even if it takes me over the edge of a precipice, just to see what is there. All this stuff influences my music, and during the period of making this EP I was angry, kicking against the things I no longer liked or wanted, screaming dissent. There is a lot of anger and rage, and of course rebellion. I wanted the music to capture that unbridled fury you have when you are in your late teens, when you just start learning about yourself and you start rebelling and questioning things around the time the world is really pushing you to conform. I was soundtracking my own philosophical riot. Previous to this my Voidloss stuff had been more introverted, more pensive and melancholy, more self destructive, more cerebral. For this new music I wanted something more immediate but without being too obvious. In terms of the choices I made I still leaned more towards broken rhythms for beat structure. I find it very difficult to do anything interesting with 4x4 kicks any more, it's too rigid for me, it limits my freedom. I like the looseness you get from more 'drummer' like beats, I guess probably because I have been playing drums all my life. The challenge is to get the same rolling power from broken rhythms as you get from 4 to the floor. It's not easy, there is a ridiculous amount of trial and error and the rejection percentage is high. I also was trying to use less 'synthy' sounds. I wanted to try to take a more acousmatic approach to sound design. With the current modular synth revival in techno I was hearing a lot of 'old' synth sounds re-emerging, and this didn't seem like a progression to me. I wanted to make sounds that were hard to source for the listener, where they weren't sure if it was synth or real world sample, digital or analogue. This involved a lot of experimentation. My process involved a lot of field recording, especially with contact microphones, which open up a whole new world of interesting sounds. You are effectively recording sounds through objects in the environment, 'hearing' the world as these objects hear them, I was using guitars, feedback loops, handmade instruments as well. So I was combining this with different synthesis, granular synthesis, sample synthesis, physical modelling, FM synthesis and of course analogue. Everything was reprocessed and re-synthesised, I tried hard to obscure the source and make something new as much as possible. The stuff on this EP was part of my live PA for some time, so as I learned how the music worked live I could go back and make changes, sometimes the environment I was playing in transformed the sound as well, and so I would try to go back an incorporate this in to the music. For remixes I wanted to choose artists that I respected for their vision as well as for their output, so my list of people I wanted was extremely short. Inigo Kennedy has always been an artist I have respected greatly. His music has always been unique to himself, he remains outside of fashions and trends even though his name has become very big recently. He takes risks with his work, experimenting and exploring, yet remaining relevant to the club, and just tirelessly forging ahead, seemingly for the sake of art above all else. And he's just a really nice guy to deal with. His remix is everything I expected it to be in that it is the unexpected. Regis is another artist who forges his own path in music, you cant really even begin to discuss the avantgarde in techno without including his name, he is one of the foundation stones for artistry and the outsider mentality in techno. His music is always unique to his own vision, and along with it comes an interesting artistic philosophy taking in situationism, post punk and industrial ideology and a good dose of tricksterism ala PT Barnum, all of which comes out in his music and the way it is presented. The man is a truly singular force and it is an honour to have him on this record. Overall the concept here is that of rebellion and dissent. Of asking questions, following your own path, of maintaining some place in yourself that burns like a forest fire.

Whether or not I have succeeded I guess is down to the listener, I'm never happy with my music, I keep wanting to move forwards, or somewhere else, and am constantly trying and failing to capture some essence of perfection. But like Bukowski said
'It's the only good fight there is'

Throughout the seventies the productions of Bunny'Striker'Lee were incredibly prolific and he created a number of different labels to handle his ever expanding output.
Bunny had always worked closely with Osbourne'King Tubby'Ruddock,who had built his first Sound System in 1957.But Tubbt felt that thingsreally got going when he took on Ewart'U Roy'Beckford as his DeeJay in 1968.When Bryon Lee upgraded Studio B at Dynamic Sounds to a sixteen track recording in 1972 Striker brokered a deal for Tubby to purchase the old four track equipment.The package included the MCI console that Tubby would go on to make world famous and as they say the rest is history...
Here we look at the Attack label and have assembled a compilation of some of the finest Dub cuts released on this label....enjoy

The German saying 'Ist der Ruf erst ruiniert, lebt man voellig ungeniert.', meaning once your reputation is ruined, your life gets easy, sums up a lot about Furfriend's artistic doing.
'Freedom of Filth' lives tightly along those lines and throws its full force of lushness at you, growing into an empowering industrial monster that makes you want you to rip all clothes off your body. If JFK did it, so can you.
If big room sound is too much for you and you miss the simplicity and pervy voice of Dingo Tush that made the duo famous, you'll wanna follow their instructions for self appreciation and have a listen to 'Touch Myself', A trainlike fuckfest for the dancefloor. Make sure to bring some lube!
Following is a short live recording from the 'Fuck Olympics' .... we are just going to leave this uncommented here.