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Who We Are. Read More. What We Do We provide marketing services to firms of all sizes. About Us Since , we lead marketers from data chaos to clarity. And huge part of my collection is actually jazz and brazilian music. I always wanted to replicate those soundscapes a bit, paste them into some dance music. Genres are just about separating groups of people, and records on shop shelves! They would incorporate this hiphop feeling, that swing, into their dance productions. As I definitely studied them, I sure felt inspired!
Is there something to the scene in France that particularly inspires this in your opinion? And when I was, my energy was focused on producing ambient stuff. I would just stay there all afternoon and observe. Cats today grew up in a different time span. We are the same age, but they might have a different process, different tools, different energy, and probably different visions of music. We connected through the energy of music, and similar sensibilities.
What was it about the Jazz there that you liked? I spent quite some time there. Still do when I get time. I was privileged to land in the Kansai area, in Kyoto precisely. I also digged crates, basements and thrift shops heavily there. Japanese Jazz had a bunch of great innovators, Hino, Otsuka, Kikuchi.
That influenced my production and sense of texture. My deejaying too. That was mind blowing. Production was on another level, many of my friends were crafting wonders, and also, J-Hiphop was prominent! That changed my life, really. Can you tell us a bit more about that?
I found more freedom to be myself through music. The first year of your career, you are most often a copycat. Japan offered me a different take on music and on life too! You released an album and 4 EPs in that same year. What happened during that year to encourage this flurry of releases? I nearly stopped music in because my then project was shelved.
I encountered a lot of huge disappointments and downfalls. With labels, fellow musicians, with myself maybe too! I felt behind the wave of what was happening. So I re-started it all. Produced at least one track per day since. All that material finally started fleeing out of its container, naturally, hence the bunch of release in I have to appreciate many great people came to give encouragement, support, and sometimes even offered deals.
Between LPs and EPs how do you approach those differently and do you feel more adept at one over the other? I approach singles or EPs the same way. But I might still write a narrative and craft interludes for a three track EP! How did that one came together and how is it that it found itself on that label? I was a bit frustrated not releasing any new works in We had some material ready since the previous year, but the label was idle and we finally scrapped the original EP, entirely!
I still have these tracks though, might get them out one day. It was great to do it anyway, was happy to work with Danilo and Pablo, they are fine music connoisseurs! Listening to the track Power, with that steady kick, it sounds like perhaps that this record is a bit more focussed on the dance floor than your previous EPs. Did you change your approach a little for Desiderata and how much influence did the label have on the way it sounded in the end?
I produced some that music using parts from very old sessions and trying to get them working together. Phone Games was a slow hip hop beat at first for instance. Power was a jam I did in a vocal room in London, messing with percussions and kalimbas. How much does records and sampling play a role in your music? But yes samples… It is a huge part of my world.
Warms vibes, strong or soothing energy, tight productions… sometimes all at once! Totally, I try to get every sound colours altogether. As a DJ, I only adjust nuances! Open, Colourful, Spiritual hopefully! Ivaylo and Donaldson share a long history with each other. America is out tomorrow via all major outlets on vinyl and on the 9th of November on digital formats.
In Mr. G had become the darling of the House scene and quite by accident. Although the DJ and producer had been working within House music and Techno since the mid-eighties in it was like the world sat up and listened for the first time. By the end of the hour-long show, the name Mr. As well as introducing them to the idiosyncratic sound of Mr. G it also provided the launch pad for the next phase of what had already been an illustrious and passionate career up to that point.
While coming of age in Derby, Colin got a job working in a record store in his hometown to furnish and indulge the habit. It clearly had an early impact on young Colin, and around the same time he started buying and collecting records, he had begun to nurture this side of his musical personality too.
At an age when he was barely as tall as a speaker in your average sound system, Colin was carting them around as a box boy, a type of volunteer junior apprentice for sound systems. A move to London beckoned and by the early eighties Colin had established himself in Kentish Town close to where Keith Franklin Bang The Party had a community-based studio. A monosyllabic synthesised organ looms over an excessive percussive workout on the title track, executed with the youthful exuberance of early acid House.
The sound is indicative of its time, but there was something about KCC that set them apart from the peers early on. Keith had been adamant that KCC will play carnival right from the outset and to that end they eventually teamed up with the Rocking Crew sound system. We were playing house, soul, funk, disco all on this reggae system, it was momentous. The Advent saw Colin and Cisco abandon the stilted sounds of Acid House to pursue the more primal sounds of Techno and Electro with a determined fervour.
They would come back to House later however as G. Flame and Mr. G but throughout the mid- to late nineties, The Advent found Colin and Cisco in the grips of a sonic assault with fast -paced percussion and Herculean industrial textures distinguishing their sound. In the late nineties Colin left Cisco Ferreira to pursue the Advent alone, while he went on to establish his own solo career.
G into the world. Built on the foundations of House, but with disparate influences informing the music, Mr. G has over 60 EPs and 6 albums to his name today. Using is label Phoenix G as his exclusive vehicle for music, Colin releases everything he creates as Mr. Colin distills everything from that sound system experience down into his music with records that were made for those kind of systems.
His singles are more in the moment, crafted and released in quick succession whenever he feels the creative urges at their most intense. You have to believe in yourself — and trust me. Juan Rico Reeko is a determined figure with a singular vision. His musical output, born within a conceptual framework and pursued with agonizing precision, has been making a severe impression in the larger cannon of Techno for the last two decades. Emerging as a DJ in and a producer in with his debut EP on Emergence records, Reeko has morphed into other titles like Architectural and Humano,established the formidable Techno imprint Mental Disorder, and helped set a benchmark for electronic music that has become the gold standard for DJs and producers working within the canon today.
Percussive formations slogging out a hefty thump with a draconian discipline create an impenetrable and purposeful metre as if a straight jacket is trying to contain the thunderous baselines. Reeko harnesses the power for the singular pursuit of the body and through countless EPs and three albums for esteemed labels like Avian, Pole Recordings, Planet Rhythm, and of course his own Mental Disorder he has established Reeko and his various aliases as a tour de force in Techno. We caught up with the producer via email to find out more about his illustrious career and where it all started.
When did a career in electronic music manifest itself as a viable option for you and what led to your introduction to this particular style of music? It was the eighties then and the music that reached me were megamixes and compilations of rather commercial electronic music, untill one day when I entered a vinyl music store in Oviedo, a small city in the North of Spain. This store specialized in techno and house and this is where I was acquainted with records like Energy Flash by Joey Beltram and similar things.
I know that Reeko is steeped in some conceptual framework built on aspects of horror, darkness and psychological themes, but can you tell us a little about the origins of the project that lead to your first record and a career as a DJ? This is the whole concept which my label Mental Disorder is based on. The general project origins are from this epoch and also from earlier years when my brother and I fanatically watched horror movies.
I saw this film when I was 17 and it hit me with such force that I knew then what would be the concept which inspired me most to develop my project. How has the initial concept adapted and changed since that first emergence record? Hard, dark and sinister are aptly used to describe your music, but how do these abstract themes affect your creative process? This has both good and bad sides. From my point of view very conceptual music succeeds in getting a more loyal public. They follow you, they understand you, they identify with you..
Also it makes you slow down in the process since you only want to choose to edit very select things. But this is the price you have to pay according to my experience. Who or what was an early influence that might have affected this dimension to your music? When I seriously started to make music in the year , I was very strongly influenced by the Birmingham sound, but something that undoubtedly characterised my music were the textures and the atmosphere that influenced me from watching so many horror movies.
As an artist that has been doing this style of Techno long before it became popular, how do you avoid these associations? I know what you are referring to, and yes, I have thought the same these last few years, but I still think that my last records are free from this. At least in my project as Reeko. This kind of music is exhausted. I still seek a lot of inspiration from films, obviously, and as we talked about earlier not always based on horror and madness but on themes that I have experienced and that awaken in me some kind of disquiet. We all know that electronic music has reached the top when it comes to new styles.
Yes and no, as I answered earlier, it depends on the set. In the all-night or extended sets I do like to emphasize the conceptual side, I try to make everything have a concrete form to make people immerse themselves in some kind of a history from the beginning. For me this has always been important both in my studio and on the dj set.
In that context you are very susceptible to external influences outside of your control, like the lighting to the audience. How much are you able to adapt through your set to react to these things outside controls, and is it something you wish you could eliminate entirely for the sake of pure artistic expression? That could really ruin the atmosphere you try to create. I like the kind of lighting atmosphere they make in places like Bassiani or Berghain, I think they take a lot of care and obtain very special aesthetics.
So if you were to prepare an audience and a space for a Reeko set what would you insist upon to give it the full affect it desires? What is his third attempt is our introduction to the artist. Benevolent chords cascading over syncopated beats and rumbling bass-lines plunging deep under the foundations of House, anchored the sound of Third Attempt while buoyant melodies and airy textures floating above the surface focussed on a contrast between space and intimacy in his music. Serve Chilled by Third Attempt.
That album might be a world away from the sounds we heard on the Beatservice records but it still orbits around the same critical mass. Instead he considers the moment of his musical conformation much later in his life, placing the moment of artistic conception in the midst of some sanctimonious origins. Dreams In Common by Third Attempt. As we talk is already working on a new album, not two months on from his last EP. Shoreline by Third Attempt. Torje erupts with enthusiasm when we come to this subject. Opting for the live experience, Third Attempt favours the stage to the booth, Torje solely at the controls manipulating the sound of his own, original material.
He is also Maan. Sobering metallic stabs at a keyboard, punctuating militant kicks and puncturing nocturnal atmospheres introduced the world to the sounds of Psyk, making a efficacious entry into the world of electronic music. Where Psyk plundered Maan sauntered and flowed, with a deeper, dub-like take on Techno strewn with influences of House.
With the help of Luke Slater and Mote Evolver the sounds of Psyk would eventually find its form as the entrancing machine music we know him for today. We caught up with him via email to talk about this set, evolutions and early influences. What struck me about your history is that you have this very defined Techno alias in Psyk, but behind it all there is a very universal approach to music with everything from IDM to Hip Hop in your record collection. What inspired this approach growing up? My father used to listen to a lot of Jazz, Blues, Rock and he had a huge record collection. What else were your parents listening to and was there any radio stations, record stores or clubs in Madrid that made a specific impact on how you as you started DJ and producing?
As I told you before, my father has always been a big music lover. My mother always liked more the traditional spanish music. What did Throes cement for you that stayed with you as Psyk? I was playing a lot that kind of stuff by then and I always try to make music I enjoy at the moment. The idea of Psyk was and still is something mental, hypnotic and minimalistic. A few years after that you premiered your Maan alias for the first time, and in those early Maan records, like Trow I find a lot of similarity with the Psyk stuff from the same time like Distane.
How did you draw a line of distinction between them at first? I felt that that kind of sound was a bit groovier and different than the approach I wanted to reach with the Psyk releases, so I decided to create a different pseudonym for this kind of techno. Psyk def. There are a lot of producers these days that prefer to grow up as a marketing brand or as social media models rather than as an artist, and I think that is totally killing our scene, or at least the one I used to like.
I think of techno as an art of expression and as a hedonist and freedom movement, and I always try to explore my limits, redefine my music and improve my sound every year…. I found that there was a distinct evolution in your work around the time of Arcade and Eclipse, where those stabbing chords of previous records like Distane made room for more melodic and atmospheric elements.
What encouraged your evolutions as Psyk in your opinion? As I answered previously, I do what I feel or what I like at the moment. Of course, there is a big impact on the equipment I am using right now and the equipment I was using by then which was basically all software. Luke has been one of my biggest influences since I discovered techno and electronic music… Releasing on Mote-Evolver at that time the label was big by then was the biggest push in my career. Not just because of the 2 strong Eps we put out, but with the combination between the music, the artist and the label altogether.
Luke has always supported my music and I will be always grateful with him for that. Well, the difference is basically the freedom that you can have. I can have my vision of techno there more than anywhere. While you keep releasing music as Psyk, Maan has remained somewhat reserved in its output. The alias is still going, obviously but where is it at the moment in terms of production? There is nothing planned yet. Why is there this desire as a Techno to also make and play House music from your perspective? Well, I always liked house music, and me as a DJ and as a producer I need to explore different fields while playing or creating music.
I guess I feel more comfortable on that field while playing…. For this 4 hours set at Jaeger I will try to cover lot of fields, always between House and Deep Techno. I am really excited to see what is coming up! These were the pioneers of Techno. They were the keys that unlocked the door to this machine music and the people that etched the term Techno into the music history books. It was this wave of artists that nurtured and fostered what had been born before them and supplanted its legacy forever. Among this next generation was Kenny Larkin, a producer and DJ that together with the likes of Richie Hawtin firmly put Detroit on the map and took what was essentially a DIY music and made it one of the most revered and respected music genres today.
Kenny Larkin chose the latter, and after serving in the air force for a couple of years he came back to Detroit in to find Techno had exploded on the scene. Every week this DJ would have a new mix. It blew my mind…that DJ was Derrick May. With Hawtin goading him on and with the May as a mentor, Kenny Larkin found a calling in Techno as a bonafide artist.
Sampling the late Dr. Splashy hi-hats dominate the foreground with irreverent snares snapping through the chaos. An incoherent synth takes inconclusive stabs at a melody poised as a hook, with a few wispy layers of synths ricocheting between the clattering array of percussion. Still, in less than a couple of years Kenny Larkin had gone from the air force to a recording artist and in another two years the tables would turn again and the world sat up and listened. Ironically Kenny Larkin would opt for a pseudonym to present his unique artistic voice to the world. By the next generation of artists had brought forth a sound of Techno that to this day still marks the most significant eras in electronic music, next only to their predecessors.
While nothing could be taken away from its originators it was the second generation that not only held the torch, but installed it as a serious musical movement, a true artform all on to its own. Mastering their craft in the studio, producers like Larkin had fostered the genre from its amateur roots to a very technically and musically acute musical genre.
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Larkin had provided a new soulful dimension to Techno, getting the listener closer to the music. For the first time there was a depth to this very two-dimensional music, something this second wave of producers were able to express more accurately as they became very adept at the tools of the studio. In the late nineties, Kenny Larkin turned his efforts to becoming a stand up comedian, moved to LA and by he had announced his official retirement from music.
Between the comedy and his music it was two sides to the same coin, coming from the same creative core, which was always going to land up on its end. The album harked back to a time before Techno sitting somewhere between Prince and Jean Michel Jarre. He combined the likes of James Brown and John Lee Hooker with his contemporary playlist on his iPod and it inspired a new take on electronic music. I wanted to do something different that will totally differentiate this sound from what everybody else is expecting me to do.
The title track contrasted the stark electronic palette of Techno with the organic flow of sampled pieces as large strokes across the audio spectrum. Like the opening scene of , there was something in the very basic hand percussion and the acid stabs of a synthesiser that both looked back and to the future again, encapsulating yet again the unique sound of a Kenny Larkin record.
In a new electronic musical subgenre was spawned onto this world. Springing to life through an online DJ and producer community, a new style of House music emerged, and unbeknownst to the protagonists of its origin, it would soon spread like wildfire through the music media. It was House that harked back to the earliest form of this music, embracing the DIY attitude of styles like Nu-Groove and Garage with modern technological approach to production.
It was never their intention nor their desire to conflate the House music genre even further, merely pay homage to it, but bringing the music to whole new generation of partygoers and music enthusiasts they set in motion something not even they as its creators could curb or stifle. It was an unstoppable force that quickly made it into everyday vocabulary as it became a unexplained and self-perpetuating Youtube curiosity.
DJ Seinfeld real name Armand Jakobsson was one of these artists, and as the term Lo-Fi was usurped by a newer trends, he remained a formidable force within the greater realm of House music. As a producer his music combined the functionality of modern dance floors with the intimacy of early House music. At 26 Jakobsson is a precocious talent and a bottomless pit of creativity which shows no signs of dissipating. Most recently he was inducted in the DJ Kicks hall of fame with a mix of all-exclusive material that has brought his talents as a DJ to the attention of the wider world, on equal footing with his production prowess.
We find him in a Polish hotel where he is getting ready or his set later that night. Nothing but great times. Why did you decide to tour this mix and not an album? Something major like the DJ kicks thing was quite appropriate way to follow as far as a tour goes. We wanted to do it, because it was such a big thing for me critically to do it, whatever we could do to go that extra step, and make it as big a deal as possible, we wanted to do that.
There are a fair amount of breaks, breakbeat-based House and Techno in these sets. I really try not use the word eclectic, but it has some different flavours of House and Techno in there. When you do DJ quite often, you have to keep yourself interested. Do you think DJing so much lately will have an affect on your music going forward, because a lot of your music is very album based and can be appreciated away form the dance floor? It probably will. The club itself has never been a focus in my productions. At some point it would be an interesting experiment to make something that I know will go down well in a club.
I did go out a lot when I was 17 to my early twenties, and I feel like that phase was interesting and really inspiring.
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And it was during those two years that I matured a lot as a producer. The music you were associated with was quickly coined as Lo-Fi. Do you feel it was an accurate representation of the music you were making? There was an interesting article that came out a while back on Thump that talked about the significance of Lo Fi on the Youtube algorithm. Is this something that you were aware of? I read the article at the time, and I was so tired of reading articles on it. As far as I remember, I agreed to what the article said. It was something that was very external to what I was doing though; I had very little control over who posted what on Youtube.
People downloaded my tracks and ripped them from soundcloud and put it up on You Tube themselves, so I had no control over that, apart from the rare occasion where I would send my music to friends to make videos. But none of those tracks became part of a larger Youtube algorithm. Are you still involved with those projects? There was a Rimbaudian track on the DJ Kicks compilation. Is it correct that most of those tracks were exclusive for the DJ Kicks mix? It was a conscious decision, partly because I feel like DJ Kicks is usually big stars asking other quite famous people for music. I wanted to take the opportunity to ask people who were up and coming and who have a lot of potential, and giving them that platform to show their music on was quite good.
Did you ever experience any of that that when you were growing up there? Part of it maybe. I was more into Techno and House than Disco. There were a couple of clubs in the city when I was still living there, but the city was still developing a scene. There was a slightly older generation of ravers that would introduce the younger generation to that kind of music. I really enjoyed that time a lot, because it was bohemian and a very inclusive atmosphere.
I think every city offers a different inspiration and I think your experiences are going to be different in every city. You said that you are currently finding very little time for production. When this tour is over, do you see yourself getting stuck into a new album or EP? After this tour the travelling is still going to be continuing. My next break is hopefully something I will be taking next April.
It is a huge privilege to do it, and knowing that motivates me all the time to keep doing it. Today JT Donaldson embodies the legacy of House music, funnelling elements of Soul, Funk and Jazz through his productions in a deeper interpretation of the genre. Hello James, and thanks for agreeing to this interview. What was it like, musically growing up in Dallas? Dallas was an interesting city to grow up in musically. I jumped in head first.
Were there places in the city you could listen to that kind of music when you were getting into DJing? We had a crew of people called the Hazy Daze collectif and they through illegal and permitted parties, bring in DJs from Chicago, UK and beyond. Some of these guys first gig outside of their hometown was in Dallas.
What was your first contact with a set of decks and what was that moment of epiphany like for you, the moment when you realised you wanted to do this for living? They were not the easiest things to learn on by any means. I messed around with those for about a year and when Christmas rolled around my mom gifted me a brand new set of s. Thats was life changing. But she left it up to me to decide if that was indeed what I wanted…. I still remember that smell when opening those boxes. How did your musical experiences differ throughout those cities and what brought you back to Dallas?
Family brought me back to Dallas. My mom, my brother and my little nieces. I had spent about 13 years away from home and it just felt right to come back and be close to them. Each one of my experiences and time spent living in those cities were unique in their own way. Night and day. Completely new, but still amazing. Did you have to evolve at all with the genre, and how do you manage to craft such a timeless sound? Were you able to achieve the same as a DJ, or do you feel you have to buck more with the trends in that respect?
Playing alongside those guys, we did everything. I still do straight forward house sets, but my range was definitely widend during that time. What singular aspect between all these genres informs the underlying sound of your music? Basslines and keys and how they relate with the drums. A tremendous amount. I typically have written songs for DJs to play leaving room to drop acapellas, mix in and out and generally structuring a track for club play.
What are some of the early influences that continue to make an impression on your music today? From your experience, and considering the landscape today with so many labels out there, what should a record label do to stand out from the crowd? Make your artist happy and be good stewards of the music. Try new and interesting things, take risks and just be yourself. Artist like Stefan Ringer, Ben Hixon and a few unreleased tunes from myself as well.
The track propelled this musical talent on an immediate and decisive trajectory with three unique albums following the single in quick succession via Trip. Together it established an artist who could move between genres effectively, comfortably weaving his way through elements of Hardcore, IDM, Drum n Bass, Techno and Electro; usually conspiring to make bold, and unforgettable impressions on the dance floor.
In two years the name Bjarki would go from the obscure into the public eye with music that often bordered on intimidation, but never palled. The first record to make its way out from bbbbbb did so on thunderous terms, re-issuing a track from X-Static to inaugurate the label. Bjarki contemporised the track with his Sweet Thing version, bringing it into the present, and letting it linger on the ear for just that little bit longer.
Can we just take a moment to admire the cover of this EP. Is that an action figure in a…. There are five songs wrapped up in one, schizophrenic as it pursues each fleeting idea to the next. This is the big one! The acid-electro track from the Icelandic producer is the record that sparked the hysteria, or hysteria adjusent in terms of club dance music. The combination of that bouncing electro beat, the familiar squawk of the and the vocoder work re-iterating the title of the track over and over again, is immediately intoxicating and hits all the right notes for an underground dance floor sensation.
The obvious hit and the one to mention on this release would be the A-side, but bbbbbb hardly panders to the masses so neither will we here. Uplifting, trance-inducing synth merely caress the atmosphere , while a busy rhythm section provides the necessary dance-floor counterpoint. Yes, you can dance to it. He has driven an undercurrent that continues to course through the contemporary electronic music landscape, defragmenting the established rhetoric with a petulant snarl of disdain for anything resembling orthodoxy in music.
I thought it was brilliant, it was fantastic. Those mad German bastards. It was all there. And it was British, that was very important. Plus it was pretty much the birth of independent music—and they got into the charts. It was about DIY, and not as a trend, but rather a necessity. It has to become everything for you.
Influenced by the labels of his youth, namely Some Bizarre and Mute, Downwards distilled the tradition of the eighties independent label down to a new generation of dance music enthusiasts for which the sounds of Detroit had started moving over to the UK and the summer of love had already transpired. The EP stomps with a timeless European sound of Techno that continues to remain popular today and in many respects have become the de-facto sound of the genre in the contemporary musical landscape.
It strips the melodic and spacial elements away from Techno into an industrial-esque functional monster, born from that primal instinctiveness of the corporeal and simply explodes into the atmosphere. He expounds on the atmosphere and channels everything into brash sonic textures that jackhammer through the progression of the two tracks. These are the things that interest me about music. Later Downwards would incorporate acts like Jeff Mills, Tropic of Cancer, OAKE and Samuel Kerridge as that extension of the artistic personality behind the label, in which Downwards would cement, a sound, a visual aesthetic, and a conceptual framework, through which an attitude prevailed.
Other fleeting experiences with labels and conceptual projects came in the form of Sandwell District and Jealous God, but 25 years on Downwards and Regis is the only aspects that remain. So I just went about applying my own influences to the sound and overall operation. I imagine the things that seemed obvious and instinctive to us were alien to the way most other people in techno readily presented themselves. Downwards lives beyond such nomenclature as a singularity through the years and Regis and Female have certainly left their imprint there.
I like disruption. Immediately, the old, but familiar hiss of white noise transports me back to my youth and then it pops into life as I get to A two-step punchy snare and a syllabic yelping in Zulu greets me on the other side, this sounds more like home. This has always been the case in South Africa and notwithstanding the community focussed programming from small, inconspicuous stations like Bush Radio, this has remained the broadcasting practise for the most part of my adult life too.
The sound of GQOM, the band BCUC, a revival of seventies era Fusion, and the newfound interest in the eighties bubblegum sound had all been largely instigated and promoted through European labels and record stores in recent years. In recent years a DJ, a blog, a label and a record store has come along, all dedicated to changing this, bringing South African music back home and making availeable on the vinyl format again.
At a time when the format was largely forgotten for the more accessible digital formats, Dave would haunt the used record shops in and around Cape Town for obscure records from the eighties. Afro Synth garnered attention for its unique and largely untapped source of records from from an apartheid-era South Africa with considered reviews and articles about the artists and the records sound tracking the end of white-minority rule and the first exciting years of post-apartheid South Africa.
These were the talented, mostly black artists that remained obscure for the longest time, pressing limited runs of their records on independent labels that were quickly assigned to bargain bins all over SA. He established the blog to highlight these finds and through his words, many South Africans this writer included were lead on an extensive journey of discovery through a very niche, and almost forgotten corner of music history.
Through the distributor Rush Hour, he was able to bring that sound to an even bigger audience with a label that has two EPs and two albums under its belt today. Two re-issues from two vastly different eras and sounds, marked the beginning of the label. The first album on the label came via Ntombi Ndaba, a compilation of a short-lived career, that Afro Synth and Dave are eager to kick-start again in the future while the second album is from a new Cape Town Jazz outfit called Mabuta.
Music from the label and dedicated African sections take up most of the store, with everything from seventies Progressive Rock from the UK to American Hip Hop dotting the small space. What do you want to know about the options you selected? Enter your feedback. Thanks for your time! Your feedback will help us improve so you can book more easily next time.
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