Sunday, 26 June 2011

Audio Texture Radio Show - June 24, 2011

Kicking off this week with a lighter booty shaking moment, albeit heavily sampling the deep delights of Salah Ragab & The Cairo Jazz Orchestra(!), from Daniel Haaksman's fun on the floor new album RambaZamba. The Afro jazz flavour kept flowing with the exciting and distinctly non African Ye Mighty and their great new cut 'Beyond', we're excited about them. Raffertie then degrunged and 'future souled' the Daedelus feat Bilal track, 'Overwhelmed' to amazing effect and is the pick of the new remixes from the recent Daedelus' album. A new Deep Medi release is always something worth checking and the deep hypnotic bass excursion from Finnish boys, Clouds is no exception.

Babe Rainbow hails from British Colombia and has been picked up by Warp records for good reason, his vibes are fresh and insanely varied and 'It's All Happening' is just too short. Rarebit, who is equally at home designing graphics as he is producing deep electronica, then went all experimental and jazzy with his 'Initiation-Quitters-Freedom' quirk out before Baths proved why he is one to watch with the more melodic beat excursion of 'The Vapors' before Babe Rainbow sneaked back into the show to prove his versatility with some impecable, leftfield hip hop. The Hip Hop baton was then picked up by one of my favourite back pack MCs, LA's Open Mike Eagle with the almost horizontal 'Nightmares'. Ta-Ku from down under then enlisted the vocal talents of John Robinson to show that hip hop is alive and well if you look hard enough and if you needed any more convincing along came Dudley Perkins and Paper Tiger with the stuttering, funky BUG remix of 'Worldwide Takeover'.

Tru-Thoughts have decided Omar didn't get the love he deserved from his last album Sing (If You Want It) and have rereleased it. On it's original release his label went bust and it never got the exposure it deserved and being as it's got Stevie Wonder on it and love from people like Eryka Badu and the like, I think they've got a point. If you missed it make sure you grab it this time! This was followed by an all too rare Pepe Bradock remix, this time of 'Too Many Kids Finding Rain In The Dust' from Nicolas Jaar - watch out for your bassbins with this one. Laurel Halo then provided some great percussive, atmospheric techno breaks from her new EP on Hippos In Tanks. Wiley's new album, on his return to Big Dada, is being touted as his best yet and all we know is this boy has got lyrics for days as the title track '100% publishing' goes to show. Roots Manuva another UK vocal heavyweight then showed his funky soulful side on 'Watch Me Dance' before we mixed up the styles in ridiculous fashion and ended up with the sound of summer, the title track from Recloose's new EP, 'Electric Sunshine'.

Daniel Haaksman - Strut Oriental featuring Salah Ragab & The Cairo Jazz Orchestra (Man Recordings)
Ye Mighty - Beyond (First Word Free download)
Daedelus - Overwelmed (Ninja Tune promo)
Clouds - Lots Of Calls from No One part 2 (Deep Medi promo)
Babe Rainbow - It's All Happening (Warp)
RareBit - Initiation-Quitters-Freedom (Non Projects)
Baths - The Vapors (Anticon)
Babe Rainbow - Greed feat. Yung Clova (Warp)
Open Mike Eagle - Nightmares (Hellfyre Club)
Ta-Ku - Confessions feat. John Robinson (Project Moon Circle promo)
Paper Tiger - Worldwide Takeover feat. Dudley Perkins, BUG rmx (Jus Like Music free download)
Omar - Your Mess (Tru-Thoughts promo)
Nicolas Jaar - Too Many Kids Finding Rain In The Dust, Pepe Bradock's Blind Pig mix (Circus Company)
Laurel Halo - Speed Of Rain (Hippos In Tanks)
Wiley - 100% Publishing (Big Dada)
Roots Manuva - Watch Me Dance (Ninja Tune promo)
Recloose - Electric Sunshine (Rush Hour promo)

Tuesday, 21 June 2011

Audio Texture Radio Show - June 10th & June 17th

No time for idle chatter as Sonar shenanigans have stolen all my time so I'm just going to drop the track lists from last weeks and this weeks show.

June 10, 2011

Frederic Robinson - Mood Swings (Brownwood promo)
Beaumont - Lucky (Kinnego promo)
Maguett - Orange Flame (Error Broadcast)
Holy Other - Touch (Tri Angle)
Szare - Active Five (Idle Hands)
Tevo Howard - Autumn Spell, Top Shelf September Mix (Hour House is Your Rush)
DEGO - Not In My Disco (2000 Black promo)
Tropics - Mouves (Planet Mu promo)
Incarnations - Meet Me At Midnight (Lovemonk)
Fink - Perfect Darkness (Ninja Tune)
Samiyam - Lifesized Stuffed Animal (Brainfeeder promo)
Mr. Scruff - Wobble Control (Ninja Tune promo)
El Kid - Construction No.104 (Astro:Dynamics)
Vezelay - Sedative (Planet Mu)

June 17, 2011

Seun Anikulapo-Kuti & Egypt 80 - Rise (Knitting Factory promo)
Oddisee - Al Mawrada (Mello Music free download)
Versus - Mr Blue feat. Bruce Sherfield (Self Released)
Kidboy feat. Ohmega Watts - The Culture (Jazz and Milk promo)
Mia Doi Todd & Jose Gonzalez - Um Girassol da Cor do Seu Cabelo (Red Hot promo)
Boom Clap Bachelors - Lob Stop Sta feat. Coco O (Plug Research)
Amon Tobin - Surge, Emika Version (Ninja Tune promo)
Pavel Dovgal - Guinea (Project Moon Circle promo)
Space Ranger - Plastic Romance, MCDE Dub rmx (Lovemonk promo)
The Melton Brothers - Livin' In The City (Favourite promo)
Omar & Zed Bias - Dancin (Tru Thoughts)
George Fitzgerald - Reset (Aus promo)
AnD - Swing Me (Project Sqauared)
Machinedrum - She Died There (Planet Mu promo)

Sbtrkt - Pharoahs (Young Turks)

So Sbtrkt has been hot for the last two years or so, steadily building up a pleasing string of releases and quality remixes and his debut album is about to drop. The hype has no doubt been helped by his insistence on hiding behind a mask, a rather annoying habit of late for attention seeking artists looking for a gimmick to help them rise above the oceans of wannabe artists, but at least with this boy he has some quality music to push and his intentions for doing so seem rather more genuine than most.

So anyway the album is up for streaming prior to it's release next week and we're listening whilst typing and whacking up a very quick blog post and we have to say we are damned impressed!

The production and arrangements are showing a pleasing maturity, influences abound from classic dance music and black music gone by all stitched together with super fresh beats, the collaborations are hot and a pleasing musicality pervades the whole affair with some great guest vocalists. It really is an accessible listen but with a depth which will keep you coming back after the summer months and initial hype have faded. So that's our first quick impressions, judge for yourself:

If you wanted to know a bit more about the man then check this following indepth interview from last year we've purloined in true web 2.0 fashion from Blackdowns excellent blog:

Blackdown: I first clocked your music about 18 months to two years ago. For someone we’d never come across, your music seemed really finished: had you started producing then? You seemed to be far further down the production curve than most people we first encounter.

SBTRKT: I’ve been creating music for about 10 years and spend most of my spare time in front of Logic messing with tunes. Ever since listening to Masters At Work mid 90s house, drum & bass from the Reinforced/ Metalheadz era through to 2-step I wanted to make tunes, & started messing with those sounds. My early stuff was more of an imitation of other artists rather than my own direction. Over time I learnt how to record and arrange any of the ideas I had in my head from the beats to bigger strings.

B: You DJ in a mask and you’ve seemingly come out of nowhere to remix number 1 records. Perhaps unsurprisingly I’ve heard lots of cheeky rumours about you, that you’re really well connected in the music business for a “new” producer, that you’re friends with Gilles Peterson, you know Sinden and Switch … hahaha. How do you plead?!

S: Lol. Not guilty! It’s true, no-one knew who I was when I sent tracks out as SBTRKT... I’m pretty anti 'well-connected' artists. The only reason people heard my tracks is because DJs like yourself and Mary Anne Hobbs/Sinden/Benji B started playing them first and then it caught on to DJs like Annie Mac, Skream, Zinc...

Twitter has been great at hitting people up - I just write tracks and let them out there through my email. Or I just chuck my new tracks up on Soundcloud for people to hear. Chances are they won’t come out for ages because I’m crap at hooking finished tracks up with labels!

I used go to plastic a lot ‘bout 5 years ago where I became friends with Sinden. We lost touch for a bit. And then he started supporting my sound without knowing he already knew me - he booked me as SBTRKT to play at his fabric night last year. Only on the night, after months, he found out it was me...

Remixing Tinie Tempah is just luck of the draw. I turned it down at first but then it came back on my iTunes and decided I would give it a go... didn’t realise the original was set to no.1!

I’m now getting a load of crazy remix requests prob on the back of that. J.L.S for example?! I love remixing but it’s got to be a decent track!

B: When you first started sending us beats , they had a percussive, 2step influence that pre-dated the “future garage” movement. How did you find yourself going down this path and why did you choose it…

S: I’ve always been big into 2step since its early days. When you are first buying music you try and find a sound that you call your own. And that was UK garage for me. Used to spend a lot of time & money as a kid down in Release the Groove & Uptown records basements. Jay Da Flex [Ghost] used to be my main source of knowledge in R.T.G. its kinda strange hearing the name being used now as when I first started playing around with sequencers I sent out CD demos to my mates named 'future garage'!

I was really into the Seiji/ Bugz world. That was my journey from 2-step thru broken beat to basically where Appleblim, Kode 9, Burial came around. Playing & making music which fused all the similar strands of electronic music I’m into.

Garage has also always been my link to London. So the image it creates in my head drifting over the pirate station airwaves back in the day is inseparable. It’s that thing people say like 'unless you been to Detroit you won’t really understand the music' or similarly to Berlin. London has always been my city so that swing element has always been in my music - however far removed from the original 2-step sound it is.

B: You’ve also been known to play live sets in clubs using Ableton. How did that come about and how is it better/worse than traditional DJing?

S: I used to play strictly vinyl sets but I lost the enjoyment of playing in a traditional way. Could never really settle on one - vinyl ,CDs, digital?!

Ableton definitely works for me. I can splice between loops and cue points in tracks & full songs. Guess you have to use your method and run with it. Cooly G is great with CDrs. Gaslamp Killer flips the way to use Serato and Derrick May I admire for his turntable mixing skills!

I’ve rarely seen anyone playing laptop sets I’m impressed with. Generally its either head in the screen or too much -too loud/ too many overdubs/ timestretch to oblivion! The laptop set is byword for shit these days/ I want to change that image!

B: As I mentioned above, you often DJ or play live in a mask: what role does it play and how is it important to your performance?

S: live performance and music in general these days seems to be about the celebrity of it. something I'm not into. the music i make is slightly unexpected and the mask is part of that idea. I'm really into old cultures and new, also my background has roots globally. its inspired the way i conceptually write music, and in the end its just the visual identity of that. Everyone knows what SBTRKT looks like and that's enough, I just want people to focus on the music, not on where I grew up or what I ate for lunch!

The mask itself is created by Hidden Place they are working on a lot of the visual stuff - more to come on that front for live shows later in the year...

B: Can you tell people about the releases you’ve had on different labels and what they were like…

S: Well, to this point there’s only been a few releases. I’ve had two vinyl releases out on Brainmath Recordings & one on Young Turks. All the tracks on these were the ones which got a lot of attention before the summer last year. The first tracks people heard really. 2020 on the Brainmath EP and “Soundboy Shift” on Young Turks both got some really good feedback.

I guess musically they are all quite different. I’ve never really stuck to a tempo or template sound. So it’s harder for people to pinpoint my style. I just write tracks I feel fit my mood.

There’s also been the EP I co-produced with Sinden last November. We decided to hook up and experiment, see what would come out. Really happy with what we made. Def sounds like a blurring of two worlds. Learnt a lot about what works in clubs by hearing what else he’s producing and playing out. Reckon I’ve shown him a few studio tricks of mine too! We’re working on a follow up for later in the year. Future releases are “Break Off,” a collab EP with Sampha which is on Ramp, and then a couple of bits on Tempa & some other labels that people will find out about soon.

Additionally working on a 2nd EP for Young Turks which should be out in July and to follow up with an album, which I’ve spent most of this year working towards. Trying to hold down these tracks until its all done, as things end up on YouTube within an hour or being on radio these days , then people won’t appreciate it when its actually released & fully mastered & packaged...

B: You’ve had some pretty high profile remixes of late: Basement Jaxx ft Kelis & Chipmunk, Gorillaz and most recently Tinie Tempah’s number 1. How did they come about and how did you approach each of them?

S: Yeh, some of them are big artists I always wanted to remix , other remixes I really enjoyed making were for Fantastic Mr Fox, These New Puritans, Cessa & Modeselektor too. Jaxx came about through the label, same as Tinie Tempah. I’d been sending tracks to Modeselektor for a few months when they asked if I’d like to remix them. An offer I couldn’t refuse! Massive massive fan of theirs. I like the challenge of reworking someone else’s track. Responses to remixes I’ve done have been really positive. Gorillaz aint gonna happen though for No. of reasons. That A&R video that did the rounds sums that up. Haha

B: You’ve recently played on Rinse and at FWD>>, what were those experiences like?

S: It’s a seminal night to play at. So- pretty big shoes to fill...
Was pondering whether I should Ableton to play at Plastic as it’s just not the done thing in that club! But Plastic has always been about forward thinking music from whatever era & of course the atmosphere & sonics. So the medium for me doesn’t matter.

Rinse was mad. Really enjoyed that session. Nice to be able to stretch out over 2 hours. Showcased a few other tunes I wouldn’t normally drop in club sets. Something I’ve tuned into over the past few years listening to the Dusk& Blackdown show, Skreams Stella session, Zincs & Roska etc.

B: What do you make of music right now? Do you find it inspiring, and if so, what is inspiring you? What other producers or scenes – if any – do you feel inspired by or musical kinship with?

S:It depends on my mood. Producers who sounds I’m feeling like Roska, Ramadanman, Untold, Faulty DL, James Blake, Mount Kimbie, Lil Silva, Dubbel Dutch, Blue Daisy, Zomby and of course the mighty Zinc and MJ Cole. And then in a slightly different musical plain I really like the music of Santigold, Metronomy, M.I.A, Little Dragon, The XX, Animal Collective: the songs, attitude & energy of all this stuff appeals to me.

Sometimes I go on a digging mission and find some inspiring West African stuff or early techno, or a danceable jazz record. It’s too easy to follow trends and make tracks which just fit with everything else people are playing. It’s not really your own musical vision or path anymore. That’s my main thing is to write tracks I want to create and listen to, not just because it ticks certain neat current comparison boxes: “tropical yep, funky yep, 8 bit yep, vocal stabs yep, Detroit yep.”

I’m pretty impatient in listening too. I hate badly arranged tracks, there’s gotta be a beginning, middle and end.

B: The music industry and the scenes that interact with it have changed massively in the last 5 years or so: how do you see those changes and how have they affected you

S: I think the change from the days of vinyl stores, distributors and label being the focal point of a scene. To now nights, radio and internet sharing is a massive leap. Lot of new producers are pretty comfortable with the new regime! But noticed a lot of more established producers can’t deal with the uncertainties. When I first made tracks there seemed like a huge barrier between knowing someone to get your played, to now where you can upload it and people can respond to it immediately , and all by completely bypassing the 'who you know school. The music fans speak for you! I don’t have a problem with the way things are now. It seems there’s more empowerment as an artist than before. I always worked from a distance too so it works well for me.

B: What are your next big musical challenges or projects?

S: Have a couple of projects on the go. First up on being the support artist with a band called Holy Fuck on their UK tour in May. It’s different to the way I’ve been doing performances so far, but don’t see why tracks have to confined to being played in a club.

Finishing a record is a big thing for me. Gives me an opportunity to show what kind of artist I am without it being just a single track heard in different places. Working on live performances for the end of the year but I’ll give more info on that when it’s clearer...

Sbtrkt Soundcloud
Sbtrkt Myspace

Young Turks website

Wednesday, 8 June 2011

Audio Texture Radio Show - June 3, 2011

Simple folky delights led us gently into this weeks show firstly with Grey Reverend, of Cinematic Orchestra fame and his one man and guitar sound, before DJ Cam mixed the pleasant vocals of Chris James with some orchestral strings and hip hop touches. Free The Beats is a handmade CD compilation series featuring unsigned artists and was the source of the delicate, stringy, delights of Howard before things took a turn for the dark, dramatic and testing sounds of the new Vladislav Delay Quartet album which comes highly recommended.

The enigmatic Downliners Sekt then kept things twisted and dubby with a track from their latest offering on Barcelona's Disboot label before Johnny Clark and King Tubby laid down the dub roots  and Wrong Tom and Citizen Sound niced up the dance with some feel good reggae vibes. Hail Mary Mallon otherwise known as Aesop Rock, Rob Sonic and DJ Big Wiz then dropped some of that good old underground hip hop before Starkey further carried the hip hop torch, bassline style and made you wonder why more modern, forward thinking producers don't throw vocals over their fresh rhythms.

Kuedo is back with another EP coming soon on Planet Mu and we particularly liked the dreamy Hetoric remix of 'Shutter Light' before we gave you a little taster of the drum mental floater, 'Farthing Wood Dub' from Hype Williams, rather (un)surprisingly on Hyperdub. Alex Barck then displayed his musical pedigree and versatility by remixing ambient pioneers Popol Vuh to prog rocktastic effect - epic! Loose limbed house vibes then finished the show courtesy of Ossie and rising star based in the Middle East, Darling Farah.

Grey Reverend - Box (Motion Audio promo)
DJ Cam - Swim feat Chris James (Inflamable promo)
Howard - Music In Slow Motion (Free The Beats)
Vladislav Delay Quartet - Killing The Water Bed (Honest Jons)
Downliners Sekt - All I Can Hear Now (Disboot)
Johnny Clark - Roots Natty Congo, King Tubby Dub (BBE promo)
Wrong Tom meets Citizen Sound - We Do Dance (Irieites)
Hail Mary Mallon - Smock (Rhymesayers promo)
Starkey - Bricks feat Curly Castro (Civil Music promo)
Kuedo - Shutter Light Girl, Hetoric remix (Planet Mu promo)
Hype Williams - Farthing Wood Dub (Hyperdub promo)
Popol Vuh - Haram Dei haram Dei, Alex Barck Prog Rock Edit (SPV promo)
Ossie - Set The Tone (Hyperdub)
Darling Farah - Crown (Civil Music promo)

Brownswood Electr*c 2 (Brownswood)

Just had to give you all a quick heads up on the new Brownswood Electr*c 2 comp which is an impressive round up of today's freshest beats. The original comp came out this time last year highlighting the then still emerging talents of Pearson Sound, George Fitzgerald and Mount Kimbie amongst others so keep your eye on this years selection for some big names in the making.

The idea with the selection is to focus on the grey areas between genres, those microgenres, fusion moments that are hard to categorize except perhaps under the heading of 'good electronic music', although most of the tunes have a pleasing melodic thread running through their sequenced veins.

So what can you expect? Well here's a few names which might ring a bell or not: DJ Dials, Koreless, Gang Colours (see our previous related blog post), Frederic Robinson, Synkro & Indigo for starters. Don't worry if you are none the wiser as neither were we until we had a listen and that is one of the joys of this comp, not only is it great from beginning to end it's a great introduction to the new boys on the electronic music underground block.

Expect stuttering cosmic dubstep vocal vibes from Monky, hypnagogic bassline house from Anenon, the most 'liquid', languid and progressive drum and bass from Frederic Robinson, delicate James Blakesque post dubstep from DJ Dials, anthemic feel good house mutations from Jack Dixon and frenetic Juke to test the most agile of footwerkers from Stray amongst a whole heap more. In fact there was only one track that didn't appeal and in this day and age that is a result, believe us.

So with no further ado, here's a little taster for your ears:

Brownswood electr*c 2 // Album Teaser by Brownswood

Brownswood website

Friday, 3 June 2011

Georgia Anne Muldrow & Declaim - SomeOthaShip (MelloMusic)

"Like Lao Tzu in Hiphop Mello Music Group provides music for the soul, from the heart of American culture, opening the realm of the intelligent Hiphop experience through melodic evocations, beats that corroborate the truth, and voices that roar above the rising void and impose order on the terrible & triumphant moments of everyday life. This is the compelling sound of Mello Music Group."

Mello Music don't just talk the talk they have constantly delivered their manifesto, only dealing with the modern torch bearers of thinking American black music as their roster testifies with sweet, soulful beat don Apollo Brown, the think before they talk lyricist's Trek Life and Oddisee amongst their roster and of course the one and only Georgia Anne Muldrow and Delaime (otherwise know as Dudley Perkins)

So it was more of a pleasant surprise this morning when we noticed that Mello Music are giving away the Georgia Anne Muldrow and Declaime album SomeOthaShip which we were championing on the radio show when it first dropped at the start of last year and we thought we'd help spread the word.

The duo certainly pulled in the favours with this album with all sorts of like minded guests vocalists and producers jumping in to lend a hand including Kool G Rap,  MED, Big Pooh & Flying Lotus. The album veers between the cosmic G-Funk of 'Endure' to club bangers 'Heaven or Hell', the  hip shaking funk vibes of 'Get Up' remixed by Oddisee or the interstellar beats and erudite lyrics of 'Mages Sages II' produced by Flying Lotus.

Really you shouldn't need much more encouragement to swap your email address for a high quality download of this album. Just turn it up and help spread the Mello Music word.

Here's a cool little video of Georgia Anne working on a remix for A Suite For Ma Dukes - how musical is her kid going to be!!

The Sounds of VTech / Georgia Anne Muldrow Remix: Untitled/Fantastic

Mello Music Bandcamp
Georgia Anne Muldrow Myspace
Delaime (Dudley Perkins) Myspace
Epistrophikpeachsound Blog

Thursday, 2 June 2011

Miles Bonny - Lumberjack Soul (Melting Pot Music)

Miles Bonny could well be your next favourite soul singer. After gracing the soul underground for the last few years his debut album, on the ever excellent MPM record label from Cologne, could well be what deservedly pushes this singer into the wider consciousness.

Dubbed as "the missing link between D'Angelo and Willy Nelson" (!) this Kansas city resident is the son of professional trumpet player, Frances Bonny. He played his first notes at the tender age of two and whilst attending rehearsals with his dad he met and was inspired by the likes of Tito Puente and Max Roach, now that's what we call musical pedigree.

Miles has already released a few singles and collaborated with the likes of DJ Day, Shawn Lee, 74 Miles Away and Portformat amongst other Audio Texture favorites and the new album contains his early releases as well as five new tracks. Production credits are spread far and wide with DJ Day, The Ins, Suff Daddy, Kova, Testiculo Y Uno, Nicholas Kopernicus, 74 Miles Away and others all involved in the knob twiddling.

The album could probably be summed up as Sunday morning soul, with most tracks structured around languid beats and smokey trumpet licks with the exception a couple of tracks including his cover of The Meters, 'Handclapping Song' which gets all funky and uptempto just as you are sinking into the album's lazy, sensuous folds. Covers play an important part in the album with the Rapael Saadiq tracks 'Still Ray' & 'What's Life Like', Jerry Butler's 'Hey Birly' and even Kermit The Frog's, 'A Song From Kermit', we kid you not, intertwined amongst the original compositions.

There are no duffers on the album and it's a great listen start to finish right with particular highlights being the jazzy delights of 'Yes I Do', the uplifting 'Learning To Fly', the hoarse, "countrified", 'Nuthin' But Chu' and all the covers which are all exceptional, but there really is nothing that's going to make you want to skip a track.

Here is the video and slow sexy musical delights of 'J. Birly':

Check the full album and pre-order from Bandcamp:

Check 'Nuthin' but Chu' below and download for free on the MPM site here

Miles Bonny - Nothing But You by MPMCGN

Miles Bonny Facebook
MPM Website (For loads of great soulful, funky, hip hop vibes)

Wednesday, 1 June 2011

David Rodigan's Dubwize Shower (BBE Records)

So David Rodigan shouldn't need any introduction to the reggae lovers amongst you but to the uninitiated he is a 60 years old white English radio dj and selector respected around the world, including Jamaica. He can play dub plates for days and any sound system that comes up against him knows they are in for a rough ride.

After two great trips, largely down sweet roots reggae memory lane, with his first two compilations for BBE: Real Authentic Reggae Volumes 1 and 2, Rodigan is back. This time he is taking a look into the world of Jamaican dub and again the focus is largely on the sounds of reggae's good old days. There are plenty of tracks from the late, great, dub originator King Tubby,  Errol T & The Matador, Keith Hudson and Sly and Robbie amongst others but the compilation also gives a nod to the new boys who are occasionally flying the flag for modern Jamaican dub including Alborosie & Da Grynch.

Now you know the selection is tighter than tight and as you'd expect, if you are familiar with Rodigans musical leanings, generally erring on the sweeter, soulful and melodic side of the genre. Check out a couple of little tasters of the delights to come below before the release date in July:

If you want to find out more about the man behind the compilation then here's a great little video interview with his outspoken feelings on modern Jamaican music and some amazing anecdotes, followed by a couple little of interview snippets which should also be of interest:

Latest tracks by

David Rodigan's website
BBE Records website