Is it a track that even needs an introduction? Its one of the best known offerings from Size and Reprazent and definitely one of the most popular tracks released from the seminal New Forms.
For me, while it was absolutely caned on release, its a track that has easily stood the test of time. It sounds no less fresh than the day it was released, you couldnt believe that it was released 16 years ago. The drop is a masterstroke, with the start of the track sounding very Hospital records before it drops and that cracking bassline takes over.
As an outsider, its hard to appreciate the huge cultural significance of the JFK assasination. It’s only now beginning to dawn on me what a huge effect that it had on the people of the USA. Seeing the huge ammounts of coverage, eye witness testimony’s and interviews with pensioners who lined the motorcade, its clear that the wound is still raw for many.
In their own inimitable way, Steinski & friends drummed up this sampling classic in some way to offer their own acknowlegement i’d expect. Its a classic example of the sampling skills these guys had, keeping the rest of the track to a simple breakbeat. This song is all about the subject material. I wonder if Cronkite ever gave this a listen..
Absolutely killer version of this classic cut-up tune and awesome quality on my M- copy. Check the live version available on the Death Of Vinyl (DOVentertainment) compilation that is extended with additional samples that clocks in about 30 seconds longer. This is a stunning achievement in the cut and paste era so grab it while and where you can.
One sent over by my much better half, Basecamp look to be doing a cracking job of meshing R&B/Dub percussions with huge sweeping synths and textured electronic landscapes. While in itself that would normally be all I need to sign up, you also have a fantastic set of vocals that really polish the track into a total cracker.
They have rather generously uploaded their entire EP to Soundcloud and while all the tracks are great in their own right, this is the standout for me. Its all about the bleeps man.
Here is the artist page with links to the entire EP for your listening pleasure, enjoy.
What a tune this is, taken from the excellent album Twice as Nice from Fantazia and its an album that really showcases where Fantazia were taking themselves back at the beginning of 1993. Leaning heavily on more progressive house sounds than the jungle that was emerging around the same time, this album has such a fantastic range of sounds that showcase just how the scene was fragmenting at the time.
This track is a real bridge tune with big piano’s evoking the arm waving tracks of the past 12 months along with a really quite ambient through to progressive synth and bass arrangement that sounds more like the tracks you would start hearing in the later months of ’93 at clubs all over the uk under the moniker of “Progressive House and Trance”.
For me, the intro is lifted straight out of an FSOL or Orb track and if I could criticize the track in any way, it would be because there’s not enough of this broken up ambient led intro.
PSI was formed by Simon Kemmett from Cheltenham, who wrote and produced all the tracks. The vocals were performed by Caroline O’Shea. PSI played at many event during the rave years but were manly known for playing at the big Fantazia parties as well as for their signature tunes on the Fantazia albums The First Taste & Twice as Nice, including the classics Feel It – Fantazia, No Way & Forever.
If there is any more proof needed that the beginning of the 90′s had some of the most exciting and progressive experiments in electronic music then I challenge you reader to find it. Narra Mine was originally released in 1991 and considering its bouncy or cheezy peers it stood out like a beacon in the night. Absolutely dominating any place it was played in.
Two years later and the insanely gifted G-Double-E put an ever heavier breakbeat spin on it and released it along with the cracking Pete Lorrimer mix on a practically impossible to find white label promo. Is this track better than the original? Hard to say, the breakbeat junkie in me says “God Yes” but respect has to be paid to the groundbreaking original. Overall, if you want to hear one of the greatest breakbeat tracks ever to roll out of my homeland, start right here. Its a fucking masterpiece.
An apt response to being off the grid for almost 6 months. Work’s a beast! Anyway, lets get back to it with this belter from O’Neil. Liebrand does what he does best and punches up the original arrangement with a face slapping bassdrum and catchy as all hell bassline. Thankfully he keeps the entire vocal arrangement from O’Neil although I could have definately done without ‘ALEX BABY’ hitting the track so often! But if you push your way thorough the intro, the rest of this is a soaring freestyle classic.
Fantastic record with a special nice video along . This was a big hit and in heavy rotation in 1987 on MTV . Whenever this one came up i was delighted . A female drummer , the impressive body of Alexander O`Neal weraing a suit and tie , while singing these fabulous lyrics , that couldn’t fit my feelings at the time any better : “Don’t criticize my life style . Don’t criticize my friends .. All You wanna do is criticize “.
Damn i wish i had this 12″..
How on Gods green Earth could I have forgotten to do a write up for this. Easily one of the defining early trance tracks that is well deserved of its legendary status. Its got pretty much everything you want in a dance track, a relentless synth bassline rumbling under a cracking kick drum and that filthy low-fi high hat. Cue the bells, oh the bells. Merely a harbinger of the destruction soon to be wrought by this banger. Because just as soon as the main riff kicks in, that sawtooth synth that just rips across a crowd like wildfire, you’ll see a place erupt like no other.
I never saw anything else from Quench, not of note anyway, Dreams just left too much destruction in its wake. An absolute masterpiece.
Since work is easing off, I figured it was time to get a bunch of the track’s ive been caning the past few months into a mix. Its a bit different to my other mixes but ive been really loving some of the beats and sounds coming through my soundcloud feed of late. So, on a far more relaxed, head nodding kind of trip this one.
If you havent purchased Tokyo Dawn’s seminal Electro/Groove/NuDisco/Funk compilation “The Boogie”, get right on that now. Its a huge assortment of the freshest sounding electro work i’ve heard in the past 10 years with Vindahl’s Sometimes being a real standout belter of a tune. This doesnt just rock you slowly, its a moog driven behemoth of electrofunk evoking memories of ’84 Freestyle flavour with a solid and unstoppably crisp modern delivery. Its so slick, its almost unbearable but that bassline just carries your ass along for a cracking ride.
For the record, this compilation has about 12-14 different, practically unknown artists that contribute to it and absolutely every single track sounds better than anything any of the heavy hitters have put out in recent memory. Anyone wanting to hear some seriously progressive Electropop would be doing themselves a serious disservice by not diving into that back catalogue. Start your journey right here.
Co-founder of the vanguard soul collective Boom Clap Bachelors, Vindahl has been involved with numerous offspring projects such as Ivory & Gold, Robi, Kris Mars and Non+.
“Vindahl – Serendipity”, the first album project to be released under his real name has been his secret heart project for more than four years now. Musical influences as diverse as Talking Heads, Trevor Horn and Prince shimmer through, complemented by lyrics often based on themes of duality.
Damn I have been lamenting the loss of my copy of New Forms today. You always want the albums you dont have to hand, doubly so when you know the CD has vanished. This, while not my favourite track from the album, right now, sat at work, this is what needs to be playing. I’ll be honest, I found a lot of what Size, Full Circle etc were pushing out back in ’97 to not be quite my flavour of DnB at the time, I guess I was still stuck on broken amen’s and terrifying basslines. But around 2000 when I actually picked up New Forms, it was a glorious return to some fantastic DnB during a time where there had been a fair bit of stagnation in the current DnB world.
This track is one of those defining DnB tunes, taking an extremely simple arrangement and layering lots of exciting facets to it, from the mutated bassline to the various vocal stabs and synth effects the whole track is woven expertly around that frantic (non-Amen based) break. I shouldnt undersell the fact that there’s no Amen break in this track, for 1997, thats pretty much all there had been for the past 4 years. Now, some 15 years down the line and this track still sounds fresh as the day it was released. A bona fide classic example of the genre.