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Luv It Up (Original) - Jump - Funkatarium B/W Luv It Up (The 1994 Remixes) (Vinyl)

25.08.2019 Zulkile 9 Comments

But the highs are numerous, both musically and lyrically, as Jay-Z continues to contribute to the ongoing soap opera that is early 21st Century New York rap. The title track finds him re-entering the ring to verbally feud with Nas.

He is indeed. But how long he continues to maintain such an intensity of work rate, and how many chips he can keep balancing on those broad shoulders, will determine how long he stays at that lofty pinnacle. Stay tuned. As a special treat at the end, label bosses Laibach guest for.

The album thus reads more like a series of sketches, a work in progress, than a fully realised project. Chilled, Jazzy beats and a voice dredged from the deepest ocean. Back of the net, as Alan Partridge would say. This collection of super-smooth, lightly Jazzy Brazilian rhythms tries to walk the same delicate line, but doesn't quite make it Rosalie De Souza undoubtedly possesses a rare and beautiful voice, but the light, gentle nature of the tracks and production makes for a slightly throwaway album.

And sot on no Indie mymore Four tracks burned on a CD, each made up of three or four sub-tracks, none of them with any titles. Buck adds poetic, evocative, personal lyrics to claustrophobic, painstakingly constructed beats. How do you manage It? I write pretty much every day. It would be hard if you had to dream up a whole new universe every time you sat down, I guess. All I have to do is look out the window. What prompted the move? Also, some of my biggest influences, like Tom Waits and David Lynch always had great success here, while remaining relatively obscure back In the US.

That says something to me. The French music scene is pretty intriguing to me. Do you court trouble or does It come looking for you? It makes life interesting, though. You know, I once woke up with a live bat in my pyjamas.

Baseball is still my first love, honestly. Did I choose the right path? A bit. Andrew Weatherall is a fan. Faust are all about freeform expression, held together by the rough semblance of recognisable structure. Distorted, discordant guitars hum to the fractured grooves of spasmodic jazz-rock drumming, while occasional vocals come In like the bad trip Beach Boys and go out like Satan on a surfboard.

The results are probably best enjoyed under the influence of a lysergic cocktail - but astonishing all the same. At least he goes some way to redeeming his reputation with this set. Regardless, Snoop Is back. The tumbi twangs into life, the dhol drum bounces, the killer Knight Rider bassllne booms and the whole club goes insane.

The track, originally released by Panjabi MC In , revolutionised the bhangra scene. Bhangra, once decried as naff by non-Punjabis, suddenly got a new lease of life.

While the London media salivated over Talvin Singh, this new Asian influence was busy elsewhere. In Birmingham. Manchester and Leeds, bhangra was being mixed up with rap, garage and jungle as producers took great bhangra session vocalists, mixed them with beats and added bad bwoy Asian MCs. If you wa nt to know more, the records below are the best place to start. What he perhaps lacks is that little bit of added charisma that makes someone like sometime collaborator Mos Def a star.

Some people are maybe just meant to be underground. Now they just seem tired and bored, plugging on aimlessly with this mixed bag of cool-ish basslines, lame beats and average rhymes.

Where the trio once broke new ground, the collaborations here with omnipresent super-producers Timbaland, Rodney Jerkins and The Neptunes sound like everyone concerned is going through the motions. Ultimately, the lasting testament to TLC will have to be their former glories - and thankfully, there are many of those to choose from. The press release baffles with its mention of 'Dre-approved beats', since there are none to be heard, while LA duo Simon James and Danny Hastie have, rather awkwardly for easy reviewing purposes, produced an album that sounds like nothing else on Guidance.

But despite all that this is rather an arresting LP. So while hits may be thin on the ground and It may lack the moody magnificence of Guidance stalwarts like AiXUS, those in the know still nod approvingly to this.

That slight lack of variety is then compounded brutally by the fact that there are 23 tracks on this album.

Sadly, for his follow-up album,? Suppose you can't have it all. UK WWW. The beauty and tragedy is that many remain blissfully ignorant of the larceny in the tunes they love.

But when Fabric asked him to spin at Fabric, he accepted - and brought the house down. This, his first ever mix CD and the seventh In the FabricLive series, is an excellent summation of four decades of dedication to great and ground breaking music. Some of the samples are obvious, but many are not. Of Noise and. A joy, an eye-opener and a very hard album to follow. Any cop then? The Oakenphant takes time out from filching the American dollar from white college kids and appearing on the covers of previously credible American magazines to bring us a round up of the latest Perfecto slates.

Lots of records that are redeemable only by taking vast quantities of narcotics. Must try harder. Plus plenty of acoustic French folk balladry, and some industrial metal, of course. Bizarre, but fascinatingly filled with promise.

If variety is the spice of life, this lot are a vindaloo. Another attempt to find a new direction in the - paradoxically - savagely competitive chill out market. It goes filmic, lo-fi, swirly, regal, gently funky, a touch electro - all of these and more, with not an ethereal vocal in earshot. Cosmic jazz-fusion vibes, straight on an Afro-futurist tip.

For comps with, hig cochs leaving house and trance fans cringing like the little bitches they are. Of course, music this self- consciously brutal eventually ascends to levels of high camp sturm und drang that can be misinterpreted by the dim.

They duly denounced Loftgroover as a nazi-sympathiser and white supremacist. Good for decorating to, as well, probably. What's on it? Scene leaders Modaji get a generous three out of the ten slots. Jorge Ben. Any cop Then? Delicious death-pop, electro and Belgian new beat that stays Just the right side of goth.

But only Just. Assault On Precinct Do Fischerspooner dress funny? This is Just the ticket for impressing both electro obsessives and that goth you secretly fancy. Easily on par with any of the superb Nu Breed compilations, this is some mighty fine club fodder.

San Francisco's most popular house DJ, Farina, delves once again Into his slo-mo boombip bag for a downtempo delight. On the eve of their fifth birthday. Disorient release their first-ever compilation. Launched by Gav Smith in , their aim was - and is - to release fine tunes by Japanese artists in Europe at a more affordable price.

Decrease, damn import prices! This is the sound of small- but-cool Saturday night tomfoolery, fuelled by small-but-cool record stores. And Japan, obviously. Tollstoi obviously are - their books are quite good too, we hear. Compilation daddies Hed Kandl return with the third instalment of their more underground release, which is basically rather similar to their well-packaged chart doggers, but with less well-known records No, really?

Deep house, soulful garage and Mousse T, all wrapped up in extravagant packaging that will sit well on your shelf and attract attention on your coffee table. These comps piss out of record shops primarily down to their excellent design characteristics, but minutes of entirely unmixed deep grooves doesn't necessarily make for a very entertaining evening. The recently erratic Luke Slater re-releases another boxful of rarities from his Peacefrog glory days. Oh yes. Flying enthusiast and saucily-named techno DJ picks some exemplary choices from her undoubtedly roomy box.

It thumps; you dance; Job done. Misstress Barbara most definitely can. Can anyone provide a translation? Sort of. Of course, if the label would like to send us to Rio for a reappraisal.

Superb stuff. So, in the same spirit, this review is divided In two - that's metatexturalism, readers! This contains some of the greatest songs ever written by a brilliant group, who were arguably the most fundamental Influence on dance music and the best British singles band of the Eighties. Mike Pickering. Write a new album! Acid house will never die - as someone daft once said. RM One new single?

Lots of songs you should own alreadyl But now digitally remastered! Still, on essential album, whatever your musical preference. Grabbed from the already huge soundtrack of his US box office-shattering 8 Mile film, this is sure to head straight for the Number One spot and take up residence there for. Cut onto limited edition copies only seven-inch vinyl the usual home of real downtempo gems , this double-header from Rob Mac and Matt Smooth will not only chill you out, but lay you down, tuck you In and bring you a nice cup of tea too.

Blissful beats that will still sound fresh come the first summer sunset of Ibiza But oh, how we long for some new UKG material from the long-foreheaded superstar. Heard of him? Get back to basics, boyo! This one rumbles, thumps, and then wallops us with vocals, just like they used to do. Sexy, feisty and not for messing with. Upbeat but not really ground breaking, we prefer the hook-up with Quantic on the flip.

Desperately hip, dreadfully funky and completely the right name to drop in circles of cool. But will it be a hit? Er, no. But give It a year and their nu-dlsco beats will bo all over Britney. We hope. Kevin, meanwhile, says the current record to look out for on his Glasgow Underground label Is by the Freakers Orchestra.

Sandy, one of house music's greatest songwriters, has created yet another spine-tingling dancefloor wonder and Defected have, in Ben Watt, commissioned a producer who can work magic with this kind of vocal. Watt's mix, on the other hand, is jam-packed with the kind of sassy chords and spanking hooks that makes both househeads and housewives alike want to shake their booties. A must- have for the trackheads and Sneakists alike.

Driving, feet- propelling bass, vocals with heavy effects and guitars are all wrapped up in a top rocking beat.

Big system stuff. The deep dub on the flip features some great strings, making the track saw. Guaranteed to slay any decent sound system just before sunrise.

The goddess that is Gladys rides the groove with ease as her voice melts your mind. Further blurring the lines between house, garage and soul, this will be big for ages. Classic stuff. Murk at their best. Producer Jimi Tenor provides an esoteric mix of bass and sweeping strings, then Gus Gus add a beautifully lazy collage of disco guitars and lazy bass. Typically bright. Louie's recent soulful output is wonderful for those lazy days but when it comes to Sam, we need more of this. A welcome return to harder things.

You need this shit. Ciafone takes the original and works ft into an Intelligent futuristic and challenging killer. More dark mumbling than Alex Ferguson after a home defeat and funkier than bag full of Afro wigs. Here, they trawl those classic Spectrum moments for a fab piece of dirty, retro house. Not sure how legal it is, so get a copy now before they vanish.

File under cool. Characters are added and deleted as though we're all In this mad Holodeck programme on a starship. He is also one great pool player!

On the other hand. Welcome to the world of poetry, people. Jonas Stone, meanwhile, Informs us that he will have had the Icc'cream surgically removed from his photo by the time you read this column next month. The work of one Sebastion Devaud, this is another exampie of the sort of Paris- meets-Detroit groove that the French have long excelled at - only much, much bigger. Big room, big time, big tune. From The Orbit to Slinky, this is the sound of now.

Influences from Detroit to Cologne and beyond are combined with subtle use of melody to make a truly emotional dancefloor experience.

Nocturnal dance music at its best. Four different artists provide a track apiece and even though you might not play every track in one set, they are useful, especially as attention grabbing fillers. File somewhere between Mosaic, Shatrax and Eddie Richards. Ian J Richardson and The 65 D Mavericks - for some dark, multi- layered sonic abstraction and dirty dancefloor business. Percussive, explosive and sinister as hell, this should leave few standing at the end.

So am I. Good work. Mixing a range of influences from contemporary click house to old school techno this is a great EP with four very different but equally strong tracks.

Here, the feisty Scotsman gets all Detroit-melodic- stringy on our arses with a disco b-line for backup and a bit of modern day oomph. So good. Both mixes feature the wonky analogue hook that made the original so popular, with Dean Coleman twisting them around his big, bassy tribal rhythms before the ever reliable Mr G steps up and works them into his ruff and ready grooves.

As with most of his releases, this is not the sort of thing that most of you will pick out while skimming through a huge pile in a record store. But listen to It properly and its magic slowly works on you. Over on the flip. Haris delivers a remix in a similar style to his recent collaboration with Renato Lopez.

Not ground breaking perhaps, but it works a treat. Melodic, funky and dirtier than a convent's laundry basket, this EP from Rob Otnik and Ghettohead aka two Glaswegians known as Steven and John is pure synthetic funk magic. Get hospitalised. It was funny because everyone was talking about something happening, but there were only about people there who really knew what was going on, even though the place was packed.

It had a big Influence though - people like techno pioneers Kevin Saunderson and Derrick May were big new beat fans. The whole new beat thing was about something different - songs rather than just tracks. For a long time now, people have Just been playing beats and I think people are once again ready for something different.

Now, here he Is with his first solo project for a while and boy, this thing moves! Still, it works Incredibly well. Sabotage, and its first release is a corker. The Fretwell mix on the B-side is a rather great breaks version with more power and edge.

Its simple, well-finished drums and percussion and stunning, perfectly pitched lyrics should hopefully see It picked up soon. LemonS knocks out an incredible mix of big synths big vocals - a guaranteed Sasha anthem and therefore a guaranteed progressive smash hit!

Tek deliver, yep, a techier, deeper mix on the flip. Is back, new and improved for There are vocal and dub versions for those of you lucky enough to get you mitts on one of the 1, copies to be pressed!

Another double pack with too many good mixes! Saucy, sensual female vocals pervade the mix, adding a rich exotic atmosphere. Tight production, carefully structured arrangement k and an emotive melody GTR Mistral Five AM add a highly polished, acoustic edge to the track, making this a must for big sound systems. Are they right? A furtive phone call tipped us off that this was one to chase, and a plea to one of the producers, Farina, brought the goods into our sweaty hands.

A stormer. Stand by to be beamed up by this pounding slice of futuristic, genre- melting technotrance. Locate some tracks on this label - you won't be disappointed. Johan Gielen provides a remix, making this a Inch to fight your friend's rabid pitbull for! No flotsam here. After all, Jeremy Clarkson doesn't build cars. Actually, perhaps that Isn't a very good metaphor, but you get the picture. Pointless to describe and wonderful to behold, nothing else on the first Soul:r EP even comes close, neither Sonic nor D.

There are some ice cool, time-stretched breaks too. Times must be a-changing. Sunshine with beats. Ammunition for your speakers. Proper rhythm magic. All the right sounds are there, but with beats that do nothing more than keep time, it can become hard not to nod off before long. I know I'll always get an honest reaction when I play there. It was clear that a major new talent had emerged.

Now, almost a year later, at last we are treated to another phenomenal performance from this Atlanta star. He really is so special and such a large breath of pure soulful air. The arrangements, songs and delivery are so easy to grasp, and Just one listen will certainly change you for the better, make no mistake.

This is future soul, deep, so deep and then some. The vocals hit the spot and the words are fresh and meaningful. As with the first this is pure class all the way, meaningful songs with production that updates soul for the 21st century. Massive production that swings into a Latino rhythm halfway and is so damn infectious it puts a permanent smile on your face. Gorgeous, happy soul music. At last, the modern soul scene Is moving on from classic tunes recorded ten years ago and showing an appreciation for the talents of today.

This is one of those must-have black gems, crammed with all things soulful and more. The foundations of modern reggae, no less. Stealing the glory from Truth Hurts, this kitsch masterpiece brilliantly fuses booty-kicking electro with Indian angels to stunning effect. It makes up for with insane cacophany. The titles may be high on cheese, burt the heavyweight cuts punish the bassbins relentlessly. Like Studio One hosting a sound clash between James Brown and Fela KutI, this track assortment Is ridiculously catchy and champions a rootsy rare groove that is impossible to argue against.

Chanteile Flddy, meanwhile, is still recovering from a chance meeting with Justin TImberlake. Now, as the winter months creep in and the weather comes over oh so grimy, so do they, with the soiled, stained and outright filthy knob flexing and b-line rupturing of 'Boo Dem'.

Without a doubt, dirtier than Santa's little helper. Hotter than mulled wine. Gimme the light! No boundaries are broken at all, but the raving crew dem now have more reasons to get dirty and wind doubly low.

Bo indeed. The MCs sound far better here, ditching the sweet vocal hooks for a far rougher chorus. One for the underground.

Representing the new breed of beats from the underground, this inch is pure grime, with snares that slap you in the face and sub bass to rumble the fattest of systems. Buy yourself this slice of history while you can. Yorkshire terrier llogik adds a moody, pulsating, twittering power-trancer that bites yer ass and won't let go.

The main riff is one of those memory-joggers all dancefloors love, giving this nothing less than instant anthem status. Watch this fly. He thinks you should buy some of his records instead of what's in his chart Nuff said. The beat revolves around a skanking organ which elevates the whole tune and makes sure this is a good return.

All the bears, wolves and dinosaurs. Aggressive, funny and technically on point - just how it should be done. If you like the beats, Jaes is giving away a whole album of them as MP3s at www. Your dad might even Injure himself breaking. The beat slinks out in a way that is deceptively simple, but actually very rhythmically subtle, and holds a groove that is to die for.

Over it, Chester drops some more of his own unique blend of psychedelic, dole queue sci-fi shenanigans. Very good indeed. With a jazzy edge, but clipped, skipping beats, the Circle occasionally sound a little uncomfortable locking their meters to the shifting rhythm, but they have good voices and a suitably distinctive approach.

Following the, apparently, highly acrimonious split of Fleapit, the duo have now turned to Lilangryson and re- emerged as the Beefeaters with their first release. Still, it's a promising debut and a strong EP with moments of real, down home, hod-carrying humour.

Surely this is the work of Chris Morris? Well, in that case. It's a real breath of fresh air. In a strictly platonic sense. As ever, he's Joined by Oom Stanton, who Is still putting the finishing touches to The Warriors' debut album and recovering from an awesome weekend up at Tribal Gathering. Do yourself a favour and find out why. A killer release from TCR. The B-side offers two experimental, electro-ish tracks, which are acquired tastes.

Still, these guys obviously know their equipment inside and out. An interesting lick. Now, helped by some top drawer remixes, it emerges from the shadows, large style. Marine Parade stablemates Evil 9 rip up the rule book and use it as toilet paper with a fantastic breaks- meets-rock remix. With guitars and everything. It was enough to make us play air axe behind the decks at Bugged Out!

With more than a passing nod to the likes of Lee Coombs and Nathan Coles, this rolling break and earnest groove will make perfect sense at The End or a Wiggle party for the house and breaks fraternity alike. As nobody says anymore. If this remix is any indication of what's in store then old fans will not be disappointed. The beats are still crunchy, and the slightly progressive edge sometimes in evidence is in full flow here. The mood here is brooding with a bassline that stands with its arms folded, giving you the screw face.

More fire! A real peak time track. Oblivious to the whims and whines of the music biz. Wicked stuff. The original is as lazy and soporific as the title suggests in a good way , but the real boom lick is on the B-side, where boy wonder James Zabiela gives the track a dubwise re-rub.

The bass and drums are never going to worry Babylon unduly, but still kick up a quiet storm. Main artist Solar gets all robotic and repetitive for the lino lovers among you, with a funk- fuelled analogue synth line to pop to. A label to look out for. Their mix is as you would expect - a plucked guitar, a shuffling break, some filmic strings somewhere in the background and away we go. Neither mind-blowing nor mind numbing, but well executed nonetheless.

No rip-roaring basslines on this track. Just an excellent, tight drum workout, which maintains momentum throughout - underground house heads could also get down with this.

Swinging beats run with a moody baseline over a quirky vocal sample to keep the floor content. The Deep Impact boys have been coming with some good bits of late - ones to watch, maybe. There aren't any regular nights, so it's hard to find anything interesting. MetaatahtI: ", when we met at school. Sometimes we have some special guests doing vocals. Whatever next? Jay Z and Beyonce are now rumoured to be an item Just as this duet hits the shops. Hype aside, this follows the current trend for resurrecting late Nineties hip hop tracks for loops.

Very commercial, but very cool too. The remake is a clever Inversion which rewrites the rules for woman dealing with their men. Lll' Kim, in particular, sounds great. Typical of his recent releases. Will the pre-Millennium Busta please come back? Ja Rule growls along, like always.

It's just a pity that Mr Brown couldn't do a better production Job on his wife's recent single. Led by a haunting piano loop, Jaheim sings with an incomparable flow leading into an irresistible sing-a-long chorus about keeping your self esteem, regardless of your situation. Jerkins lays down a very funky groove and the brothers work it out in style, responding with typically soaring, gospel-inspired vocals. Me thinks not. The beats wouldn't actually sound out of place on a Tribe Called Quest album while the singing has a similarly vintage feel.

A bit retrospective feeling but very good nonetheless. Having previously looked invincible, they seem to now be suffering from a dip in form. Because the past month has seen a few productions which fail to match the killer quality they were hitting just a couple of months before, their latest, rock- tinged track also serves as a handy case in point.

Adding a new bassline via some clever manipulation, the time-old loop works its magic once more, while Nas performs some Class A rhymes on top. Be warned though, whatever your Initial reservations may be, this record will get to you. He totally screwed me," says the normally mildly- spoken, llinois-born singer. The venue is called Complex and is on the site of the old Paradise club. It has a capacity of 1 , spread over four floors.

Three are dancefloors, while the fourth floor is a relaxation area with Internet terminals and video games. Although full details have not been confirmed, Muzik can exclusively reveal that Friday nights will be called Beyond The Final Frontierand will continue the techno formatoffamiliarto Final Frontier.

Saturdays at Complex will be given over to eclectic tunes and deep house, with Paul Oakenfold among the residents. The opening night of Complex is March 1. RISE are searching for new models to put on their flyers for their 1 events. And rather than going through the usual modelling agencies, the Sheffield club are offering two Muzik readers one male, one female the chance star of their flyers.

But that's not all. The closing date for entries is February 9. He was The cause of death was cardiac arrest following a severe bout of respiratory 'flu. Robinson, who performed under the aliases of Buff Love and Human Beat Box, was said to have been rapping for friends when he collapsed and lost consciousness.

Just a few weeks before his death, he had completed an agreement with Sony to work as a producer for the label. He was also in the process of putting together a Fat Boys reunion album. The first releases will be out later this year. Colonel Ahrams is the vocalist. Jon Carter will be the first guest. Call 01 71 For more info call 01 1 DOPE is a new weekly club in Leeds. The night happens on Wednesdays at Cafe Mex. Call For info call 01 81 For details call 01 Call 01 The closure follows months of speculation.

The final night took place last month, with all of the UK DJs who have supported the club turning out in full force. They were strongly advised to cancel and promptly did so. When completed, The Eden will feature a 1,capacity club and a seater theatre. It also boasts a bar area called Eve, which has already opened. The main part of the club will officially open on April 5, with a Rennaissance party taking place on April Asked about Cream's feelings on this potential rival, Chester commented: "They've actually given me their blessing.

They virtually were the first people I told and they just said, 'Fair play. We've had a monopoly for long enough and we could do with some competition.

Paras wishes it to be known that he is no longer involved with the Outrage project. The album also features dialogue from the film, a graphicand violent accountof the circumstances surrounding a riot in a poor suburb of Paris. Pete Tong and Sasha both had their sets aired live that night and many took Oakenfold's absence as a stance against the radio station.

Eddie Gordon, the producer of "Essential Mix", states: "Paul arrived from Paris late on the Saturday afternoon due to his plane being delayed. He was knackered and felt he wouldn't be able to perform up to his usual standard. We told him not to worry and, seeing as he wasn't in for radio airplay on that occasion, we knew only the people in the crowd would even be aware of his absence.

We just all agreed he should stay at home. There's plenty to talk about. There's his work for Dragonfly and Tip. His move, to P. His superb reworking of The Infinity Project's "Stimuli".

His latest 1 2-inch for Perfecto, "Paint A Picture", and the forthcoming debut album, "Moment Of Truth", which is currently pencilled in for a February release. Originally available as a white label some three years ago, "Paint A Picture" is psychedelic trance in its most accessible form. It's what many on the party scene would term "morning music", a kind of Diet Goa which is at the opposite end of the scale to the sinister acid darkness of, say. The likes of Danny Rampling and Paul Oakenfold are caning it already.

Not that you could call the track overtly commercial. Probe beneath the surface, lift off the dreamy vocals, and the linear structure transports you back squarely into Tip territory. Where they bring theii own bongos and breathe life into the corpse of an acid house garrotted by the dance music establishment. Where hedonism is a still a genuine concern.

There's no room for techno trainspotters, for those who rave about the latest Chicago sample in their bedrooms instead of taking in something home-grown and equally aesthetic on the dancefloor.

Which rather precludes large sections of the dance media. So will this year see Man With No Name and the psychedelic revolution finally get the recognition which is their due? Martin thumps the table in exasperation. The media is not reflecting the true impact of psychedelic trance because we are not asking them to. The whole essence of what we do is for ourselves. It's a reaction against the way the existing club culture has developed. We're putting on parties for ourselves. Nobody else.

If people don't understand what we are doing, all they have to do is come down to a party. If they've got the right attitude and any kind of personality, I guarantee they'll leave smiling. Everything we do is thoroughly analysed. It's not dissimilar to the avant-garde jazz movement in the Fifties and Sixties. W are not a bunch of sweaty ravers and we are not just hippies who know fuck-all about dance music. My roots are in the funk sounds of the Seventies.

I was making bloody acid house records back in 1 ! They basically don't have it in their brains to understand the integrity of the artists making the music. Too many of the people involved in dance music are getting far too smug.

Modernist yet expressionistic, the picture which he has painted, on this occasion, is Firmly in the realist tradition.

By consciously avoiding the pitfalls of a confining verse-chorus-verse regiment, she has opted to purr and whisper sultry musings over deliciously moody backdrops. Her first collaborations, with the Daous and Danny Tenaglia, gave rise to a pair of aurally scintillating, left-of-centre house anthems, "When You Love Someone" and "Change". And yet the coffee-obsessed Daphne still pinches herself every so often. Well, as she describes it, her initial dream had more to do with getting on the big screen than making club music.

Daphne has been able to juggle both acting and singing. As far as the former goes, she enjoyed a cameo in last year's latino flick, "I Like It Like That", and recently landed a theatre part in "Rent", a rock opera based on "La Boheme" in which the protagonist has AIDS instead of tuberculosis. I could never say my music sounds like this or like that because I've always worked with lots of different producers.

For some reason, the songs on my album are all uptempo, but falling in and out of love is what usually influences me to write. There is also this feeling of wanting to get all my frustrations out. So instead of kicking the dog, I write songs. I really don't know what I would do if I wasn't singing, writing and acting. We don't want to be seen as these little African men with masks.

Even back in 1 , we were dancing to smurf-style hip hop. The basis of oral tradition here is the griot and, by mixing this with hip hop's modernism, we can be considered modern griots. We're doing the same job, we're relating what's happening in the community.

It has no frontiers. No barriers. The first time he was paid to play records, he had Patrick Forbes in one room, Leftfield in another and FSOL doing the mad one in an altogether different state of mind. From there, he set up The Job Club in Soho, where he earned respect of people bewildered by the unrock 'n' unroll nature of clubland, but bedraggled by Insipid indie bands with one-word names.

He scours car boot sales for records with crap covers. He loves Elvis and football anthems. And now there is the sky-rock beat-block "Dirt", which was recorded in Steve's Elephant a Castle flat. When he's not remixing the likes of Ruby or Dr Robert.

Fearless Indeed. The future of techno in London? The film of the cult book. Prepare yourselves! The Ministry of the North-East? Those responsible, you know who you are What are we supposed to watch when we're mashed? Bad taste! Put a sock in it you gobshites. What now, Ministry Of Sound? Prepare yourself for acid grunge IFyou still haven't wised up to what is going to be the biggest sound on Britain's dancefloors in 1 , the long-awaited release of VERNON's "Vernon's Wonderland" should do the trick nicely.

The track has been caned in trance clubs for the last two years and is finally being made available to the public as part of the Eye Q series of classics. Vernon is Frankfurt producer Matthias Hoffmann, a man gifted in the art of producing spine-shivering journeys by building layers of sound. But both this and "Vernon's Wonderland" represent chapters in Hoffmann's book which are about to close. Typical of the fresh attitude of a lot of German electronic bods, who saw trance go mainstream and get diluted, Mattias is now in post-trance mode.

He hasn't totally abandoned the genre, but is keen to find different ways to put his message across. And his chosen path is quite unique. I reckon It's acid grunge. Will that work? The first time I heard both those records, my reaction was the same. They grabbed me by the balls. When I did it, it was a very exciting time for us in Germany, but we have moved on since then.

I'll be interested to see what might be done to it by remixers, though. It offers a lot of possibilities for radical interpretations, rather than just repeating the same ideas. Cheers for acknowledging the past glories, but there are other sounds to make. His buzz is with the future. Today's new talents have been brought up on nothing but house and techno. The next 1 0 years will be really exciting. After hearing this, I fell in love with punk.

It's a ladies' track, they always seem to go crazy about it and really get into it. This record speaks for itself and says a lot about production, which of course, is superb on this. His music is unbelievable, you don't know when the strings will start and there are so many harmonies. This is top-level, high quality techno. It's hard to play in clubs, though. Maybe DJs can't handle the different grooves or the vocals, I don't know. Now I play it when I want to make a point, often as the last track of my set.

It's very emotional and when you I find them very interesting, especially the influences which shaped their sound. There's a book on Kraftwerk where they say they were influenced by movies, culture and sport, but their biggest influence was silence. I think Lisa was his girlfriend, maybe she left him and he went to the studio and laid down this track, maybe it's a love track.

Whatever, it has a really emotional and sexy feel, with all these meaningful silences. It hits you really hard. There's a lot of love in this track. I've been travelling in Europe and I've also spent some lime organising my label, Industrial Strength.

The label recently moved premises, which proved to be quite stressful. Except for alcohol. Considering all the, er, travelling I've done, some people may say, "How come you're still alive?

But I'm not like I was in the old days. For a while, I was off the deep end. The tank is a bit shallower at the moment. It's a reflection of a lot of shit which has been happening to me lately on a personal level. I split up with my girlfriend and it felt like the world was ending.

Bull'll be ready to attack this year! So listen out for some new sounds in 1 Whatever the future holds, I intend to be there!

They're very different to Pure! The crowds are younger and have a different mentality, but the vibe is always positive. The first time 1 played in Scotland was atTheTcchnodrome. There were about 20, people there and the buzz was excellent, so I played really well for them. People are up for a good time in most of the places I DJ at, although sometimes the sound isn't so hot.

Most definitely. But although lots of kids are into it, the parties aren't as hard in New York as they are in Detroit. We occasionally have a cigarette together. We had a little falling out about five years ago, but that's all sorted out now. I listen to world music, rock music, everything. I've even done a remix for a heavy metal band called Corrosion Of Conformity. The darker side of hardcore is close to heavy metal and putting the two together works very well.

I have an AEtR friend at Earache, the rock label, who feels the same. I would love to, though. Maybe it would open up a few airheads to some different types of music. I wasn't paid for any of them when they came out, which was between 1 and The label got paid. Laurent Gamier asked me to play at the F Communications birthday party and I played house.

I enjoyed that. I got rave reviews, too. I've know him for a long time. I invited him over to do a hardcore tune for me. We have very different styles, so a lot of people were shocked. I guess both sets of our fans were thinking. IF SO. If you like it a little softer, more butt pumpin', I can give you stuff for that as well.

But whatever I do. If you look on my record covers you'll see "Live by the dick, die by the dick. That sums up Lenny Dee! Yes I know, bul it was Apparently not. A totally Iripped-out professor with a penchant for drug-inspired lyrics does not a Byron make. Which is why, sometime in 1 , someone with an eye or maybe a nose for such things coined the altogether sexier name of Ecstasy.

Coincidentally, it was around the same time that clubbing as we now know and love it started. Quite the oppposite. In fact Ecstasy has become an essential purchase for tens of thousands.

The breweries are not happy. If only they knew how. Her Majesty's Inspectorate forever go on about their lack of resources to fight the trade in drugs which threatens to destroy the moral fabric of this once great Isle, etc, etc. But in spite of their manpower shortages, officers from Penzance to Leeds, have resolved to fight the good fight.

Which, every Friday and Saturday, week in, week out, equals a macro-economy. Your average street-wise, BMW-driving Ecstasy dealer has more money than he knows what to do with. Which is more than you can say for the Old Bill. I couldn't possibly comment.

It grates, it pierces and leaves scratches on your memory. There is not a moment wasted on clouding the issue. We don't do that.

And we know when to stop. But while "Confuse And Destroy" fulfils the punk ethos of the three-minute wonder, Conemelt are not "bang bang" luddites. They Just believe the thread of a tune should be discernible. The trio have tried to achieve this ever since they separated from Corridor and released their debut 1 2-Inch, "Cid In Three Persons", on their own New Ground label, followed by an album, "You Fuckers Fuck". Conemelt's new long-player continues the musical adventure, but the sonorous brutality is now wired into circuited TECHNO, jungle and aliens.

The slaeeato, meehanoid digits resemble an audible form of braille. It sounds like the work of an extra-terrestrial being from "The X Files". He's aware that new aural dimensions arise when sub-styles are removed from their erilerial constraints. This is why he has no jualms about impregnating techno with jungle.

He even forges the two genres in his DJiiig sets. I sequence techno as if It were jungle, so it is always changing. People say they have a hard time finding grooves in my music. But the whole point of the record is to listen to it as a whole and not get bored with the changes.

There are so many breakdowns which keep it interesting. Definitely not. Nobody wants to talk to you. Their history dates back over 1 0 years, to when Shyloc, a young Jewish kid from Edgware, caught the hip hop bug and started to hang around the West End of London with other like-minded souls.

It wasjust people getting together to do what they liked. To put it another way, while they may have been beguiled by an American music form, they are British and unafraid of the Implications of that. Signing to Virgin at the beginning of 1 , The Brotherhood knocked off an album in three months. And back to the wrath of Dexter. I have more respect for East 1 7. GC2, London, 1 The dancefloor artillery is awesome and the ballads are as fully blown as they come.

Muzik presents a cut-out- and-keep guide to the people, the places and the companies we think are set to be the biggest movers and grooviest takers of DJs, producers, labels, bars, shops, clubs and seen esters. Lives in north London. Muzik Says: The big-name remixer for 1 And just tiy keeping track of those single releases! And taking a round-tnp mission to the moon, to chill out for a couple of weeks. Still lives in his home city of Paris. Deep is the man who translates the Gallic words of Ludovic Navarre for his interviews.

Style: Moving from underground house to hard techno, from Joey Beltram, through Jeff Mills and back to old school flu Groove material, D J Deep's sets are exactly as his name suggests. Muzik Says: A brave blend of old blues and new house. I want my records pressed in America because of the feel it gives the music.

I also want a very nice art direction. Plays on the right wing for his local pub footie team. The Hungry Horse. Muzik Says: Phil Mison has carved his own path through the deepest styles in all kinds of music. Having made his name at Cafe Del Mar in Ibiza, he firmly believes chill-out should have a middle-of-the-floor appeal. Lots of travelling, too.

Open 11 -7pm from Mondays to Saturdays and until 8pm every Thursday. Mail order available. Telephone Fax Staff; Nick Rapaccioli, 22, half of Bushflange.

Pete Herbert, 23, the other half of Bushflange. History: Set up in July 1 Pete used to work at Daddy Kool in Soho. Sells: "Mad, slowerstuff. Dub, breakbeat and deep, jazzy techno.

Jungle and ambient, too. But no banging trance. Plans For ; "To get in as much obscure music from all around the world as is humanly possible. Bom and lives Chelmsford. Supports Arsenal. History: Originally in marketing. A future native New Yorker. Oh, and playing live. Also hosts of occasional jungle one-offs at The Arches. To keep the urban soulful element To get4 Hero booked. To be a tme club forthe Nineties. Bom in Rorida. Claims to have very few interests outside of music.

Style: Soulful garage and house. Muzik Says: Having set the standards for spiritual garage through his work as a member of Urban Blues Project Pomoroy is proving to be one of the finest garage sequencers in the world. Plans For 1 "We have big plans for this year.

We want to delve into a little hip hop. But right now we just want to get the next Urban Blues Project release ready forthe Miami conference. Photographer and image manipulator. Never seen without a bandana. History: A former army man. Studied graphic design after suffering a knee injury. Trained with legendary American rock photographer, Annie Leibovitz. Style; "Aggressive kitsch!! Getting the exhibition to New York and Japan. Lives High Wycombe. His real name is Paul Saunders. Muzik Says: Another pioneer of the tech-jungle crossover going well beyond the final frontier.

Travelling, hopefully in South East Asia. Getting caned! Now lives Manchester. Studying fine art at Sheffield University. Two releases on Robs Records, complete with cartoon artwork by Scruff himself.

Style: A bonkers, freestyle, eclectic, multi-decked maniac. A sound mirrored in records. Muzik Says: Messed up beyond all reason and wonderfully so.

Remixing Dub Syndicate. Concentrating on singles. Lives in Leatherhead with his girlfriend Claire and one year-old daughter Hanna. Plays At: His own club, Wiggle. Style: Anything and everything from deep house to techno, but particularly funky, trippy, fucked-up stuff. Muzik Says: Welcome to the new school of deep. Drawing on the mid-ground between techno and house, with the right kind of residency, Francis could be evenbosser.

From Huddersfield. Runs Flex Recordings. Uncompromising and straight from the heat of northern streets. Muzik Says: With a big helping hand from the Huddersfield hard-step kid, the north will no doubt rise again. The pair set up Pacific in Dctober, 1 History: Both previously worked in music distribution. Justin recorded for Seismic as Gutdrum.

An ocean of killer techno awaits. Building our acts in the clubs and through live work. Anything which is mad. Anything which would work as a one-off single. UK label manager forTresorand Music Man. The son of the photographer, Terence Donovan.

History: Has been DJing since A philosophy graduate. Previous jobs include working as a record shop assistant and a hod carrier. Style: Subverting from within. Lives in London. Style: Downtempo, leftheld, electronic and generally instrumental. Muzik Says: Soundscaper and sonic adventurer par excellence. Dpening a new club with Jon Tye and others in March. Releasing a record with Scanner on Clear. Working with Boymerang. And getting more live acts on the show. Dwns Matrix Records.

A big fan of West Indian food. Muzik Says: Awesomely talented producer alert! King of the nu soul sound. Projects with Sensory Elements and Kenny Charles. Hours: Open daily for food, then all evening.

During club hours, the chairs are pushed aside to provide a second dancefloor. Most of them have just thrown a load of paint onto the walls and bought some sand- coloured furniture. The Escape Baris a modem, European-style daytime bar. Even the drinks are European-style, with some bizarre vodkas! Run from Manchester with a studio next door and a cutting room down the hall. History: Two singles. We just reflect the stuff we play out. Could be. Prom noiHi London. Played in an orchestra when she was nine years old.

Steps out with a member of Bandulu. History: Rrst record, a white label on Focus at the age of 1 7. Reviews Add Review. Lists Add to List Favorite Labels by djbrians. Electronic by stefanmarkovic. Good Labels by Sell This Version.

Casa Trax , Dubz For Klubz. The Stalker! Casa Trax. Ffrreedom , Aura Surround Sounds. About 2 Records. AIM Records. London Fiesta Featuring D-Vinity. Mo's Music Machine. Aura Surround Sounds. Tuned In E. Secret Trax Ep EP 2 versions. Thumpin Vinyl. Berlin Records 2. Blue Records. Not On Label. Gonna Get Ya! New London Jazz Connection. The Dalkeith Crew Feat. Mehmet Husseyin.

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