Sonar Kollektiv News

Sonar Kollektiv Kurier

issue 346-355  §  Page 1  §  Sonar Kollektiv estb. 1998  §  circulation 60,000  §  free

@ Sat 01 Nov 2014 02:06:19 PM CET


new  
27 Monday, October 27th 2014
Reunion Remixed - T-Shirt & WAV Bundle
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Almost to the day, a year ago the brilliant solo debut album by Alex Barck, „Reunion“, was released and caused quite a stir amongst the fans of sophisticated and boundaries-exploring dance music. A buzz lasting to this day, only considering all the different remixes that came out over the last twelve months. You can find them now, fourteen in number, nicely assembled in this digital release package. The ten reworks already officially released are joined by another four exclusive remixes, which haven't been available so far.

First of all we'd like to put a spotlight on the extraordinaire works by Ada (for “Doubter”), Kalabrese (for “We Get High”) and ComixXx (“Like A Drug”). Three remixes operating at the intersections of house, pop and leftfield you can't classify, and therefore influencing the sound of 2014. Even a lick more unorthodox come in the remixes by VECT, Full Crate and Mao. This is refreshing club music, somewhere between deep house and the sinister reincarnation of RnB.

But now let's shift the attention to the four remixes, which you don't know yet: Ronni Vindahl from Copenhagen goes one step further and turns „Move Slowly“ into a proper Soul-Funk track, including horns and guitars. This is as cheerful as it ever can be!
The two Berlin based producers Chopstick & Johnjon have a go at „Spinning Around“ and club the arrangement straight to the peak time of the (imaginary) best dance floor in the world. Captivating as well with the current sound of Berlin, one half of Âme, Frank Wiedemann does a mesmerizing job in remixing „Oh Africa“. Two times absolute world class and highest warranty for dance floor frenzy. London's Alex Patchwork, on the other hand, dismantles „Doubter“ in a fashion that only Jonatan Bäckelie's voice remains to be the single fundamental element floating on a fascinating, sentimental sea of futuristic sounds. Music for the morning after.

„Reunion Remixed“ is not just paying tribute to the infinite talent of Alex Barck, but is also a chronicle of all the prevailing trends and tendencies of current club music – be it in Berlin's underground clubs or on your headphones.

RELATED LINKS:
[1] T-Shirt Bundle
[2] Digital Release

 
top of page 19 Friday, September 19th 2014
The Magic Sound Of Daniel Grau - Compiled by Jazzanova & Trujillo
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Daniel Grau has recorded nine legendary LPs between 1974 and 1983; all of them never available outside of Venezuela though. Born 1950 in Caracas the thoroughbred musician first and foremost was one of the most sought-after studio engineers in his country. Almost any respectable artist in Venezuela (Vytas Brenner, Aldemaro Romero, Aditus, La Misma Gente etc.) was at least once in the Studio taking advantage of Daniel Grau's mastery.
Just for the fun of it Grau asked some of the musicians who frequented the studio on a regular basis to use the free studio time to record some own songs and compositions under the name of “La Orquestra De Daniel Grau”. The fist two albums from 1974 and 1976, released under this moniker, already display perfectly what an adept composer, arranger and multi-instrumentalist (guitar, bass and keyboards) Grau was and still is. The influences and references, which characterize his entire, short and Venezuela-only career, are unmistakeable: North American Fusion Jazz, orchestral Bossa Nova and Latin American funk in the sense of Eumir Deodato and Sérgio Mendes.

Daniel Grau's variety of musical styles doesn't end here though. At the end of the 1970's he moved more and more towards disco music and incorporated what we today all call Cosmic Disco. And it's exactly this scene, which started to become a worldwide movement about ten years ago, which embraces now the forgotten work by Grau and numbers his nine albums among the “holy grails” of this genre. Jazzanova member Claas Brieler was aware of this when he visited Caracas in 2012 as part of the cultural exchange programme by the prestigious Goethe Institute. Together with befriended Venezuelan DJ Trujillo all the stops were pulled to make Daniel Grau's music accessible to a worldwide audience.

In close dialogue with the by-now 64-years-old Daniel Grau the show case compilation at hand was compiled. As a CD release it encompasses 27 of the best tracks out of Grau's archive. The vinyl edition confines itself over two LPs to the 15 tracks that are the most danceable. On both formats you find a new composition (“To Night”). More than thirty years after his last official release Daniel Grau returns with “To Night” and looks ahead confidently.


"I like it all. A wonderful and weird trip into a musical world of its very own that was hidden from the world for too long. Impressive!" - Gerd Janson

"It's an honour and a deep pleasure to be remixing the Venezuelan disco godfather Daniel Grau, I've been a fan for many years. So glad his music now has a chance to reach the masses instead of the lucky few that owned the precious original gems." - Danny McLewin, Psychemagik

"Two Wonderfully enchanting versions from the camp of Daniel and Jules taken from the exceptional retrospective of the works the Venezuelan master 'The Magic Sound Of Daniel Grau" Essential!!" - Ray Mang

"Spacey , like it a lot, Daniel Wang & Jules reworks are great....my cup of tea...full support." - Michael Reinboth, Compost Recordings

"Whole album full of surprises, always on the edge to "cheesy" but then again pure niceness!." - Michael Rütten, Soul Patrol

" Great find and splendid mixes by Daniel Wang & Jules Etienne. Will play these."
- Peter Kruder

"Love the remix of "Robot Magico"... very playable. Originals versions are nice as well. quality package, looking forward to hearing more." - Francois K

RELATED LINKS:
[1] iTunes
[2] Webshop
[3] Youtube

 
top of page 12 Friday, September 12nd 2014
Stee Downes first single from his upcoming album.
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It has been more than a whopping five years now since Stee Downes released his last album (“All In A Day”, SK203CD) . But the Dublin born, Amsterdam based jack of all trades has been simply too busy with numerous other successful projects and his renowned DJ gigs to take the time to record its follow-up “The Bigger Picture” in Berlin's Jazzanova Recording Studio. This longplayer is set to be released in 2014 / 2015.

Now, for starters, we are treated with the pre-12inch “Caught Up”. It's almost take for granted by now that Sonar Kollektiv A&R-manager Alex Barck and Paskal & Urban Absolutes, the label's unofficial in-house remix duo, have looked after the track. And that's how we actually get two times uplifting vocal house that works as well in the club as on the airwaves.

Further on, the currently massively uprising siblings Kyodai take no prisoners and go for a thriving club burner and give the arrangement a fantastic sweeping beat and pump the bassline all up to the front.

All the way, from Australia comes the contribution by Rocco Raimundo, who prowls audibly in calmer climes. This way “Caught Up” wins even more points and could molt to become – in form of this remix – a proper summer smash.
On the digital release you'll find on top of Raimundo's remix also the instrumental version of the original. You won't regret to give it a try: Next to the ultra funky bass by Alex Grube, the guitar by Arne Jansen, the drumming by Michael Grabinger and particularly the piano and rhodes, played by none other than Sebastian Studnitzky, put you in an outrageous good mood.

That's then how the summer 2014 sounds!

RELATED LINKS:
[1] iTunes
[2] 12inch

 
top of page 05 Friday, September 5th 2014
Kasar's debut album on Sonar Kollektiv!
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Arnold Kasar is a musical jack of all trades: in countless projects around the Berlin based label Sonar Kollektiv, the musician grown in the southern area of the picturesque Black Forest left his traces, among them Nylon, AtomHockey or with Volksbühne-player and latest Internet-Hype Friedrich Liechtenstein („Supergeil“).
However, the trained sound-engineer is also capable of going solo, as he proved with his solo debut „The Piano Has Been Smoking“ in 2012. Now he returned to his first instrument and his timing couldn't be better, since the piano returned to new strength in the music world, as the numerous releases of pianists in the past few years have shown.

„I really hope that the timing is good, but I can't influence it. At last I do it for my own. When I started doing music as Kasar back in 2010, I just didn't know Nils Frahm or Brandt Brauer Frick. All these people weren't on the spot by then. I listened to Gonzales and of course Hauschka and Craig Armstrong were there, too. Yann Tiersen was totally famous at that time“, the pianist explains his view on his colleagues when he started making music by himself. But, with releasing his second album „Walk On“ at this point, he didn't intend to flirt with a hype. The piano, which has accompanied Arnold Kasar from his childhood on, always just fell out of the recordings in the past. Due to this enduring relationship to his first instrument he got bored of it. Instead, he preferred to dedicate himself to sample-based electronic music with his friend Friedrich Liechtenstein or making Nu Jazz in several musical projects around the world-famous Berlin based Sonar Kollektiv (home to Jazzanova, The Black Seeds or Solomun). But sooner or later the piano had to return to the centre of attention.

That was in 2010: at that point the work on the new LP „The Piano Has Been Smoking“ had started, being released in 2012 and fully concentrating around the piano. By then Kasar already used the technique of the prepared piano, which once was introduced by John Cage and nowadays is excessively used by Hauschka, among others. For this Kasar used erasers, tea bags or patches to manipulate the sound of the piano and to bring out unheard and exciting tones of his instrument. Only one song, the designated single „Put A Light On Me“, was supposed to have a vocal track, but after he didn't find the right voice for it, he simply sang it himself. Like this, for the first time the world got to hear the dark and melancholic timbre of Arnold Kasar. The desired airplay (i.a. Austrian „FM4“ or Berlin's „RBB RadioEins“) was achieved easily and from that moment on Kasar was delighted by the idea of singing on his own productions, since he had closed the chapter of producing an album on a prepared piano anyway. For this reason the comparison with an artist such as Hauschka, who made this technique the concept of his own creative work, is merely adequate. Kasar rather walks on, restless and always willing to try something new.

But this doesn't mean that he has to quit it completely: also on „Walk On“ one finds a few pieces with the support of the prepared piano, but this time the singing is clearly in the foreground. Like this, the whole vibe of the record changes: „I'd say the last record was way more a city record“ referring to the by then used techno-elements, for example, „and the new one is a record for the countryside.“, especially inspired by Arthur Russell's most intimate album „World Of Echo“. On this record the composer who rose to cult status in the past years leaves the disco era behind him and presents a fragile artist using voice, cello and a lot of reverb only: „A song like „So Called Lover“ mainly emerged from Arthur Russell listening sessions“, Kasar tells full of admiration for the musician who died of AIDS in 1992.

Other role models are surprising as well as comprehensible: „I like singers like the early Manfred Krug a lot, this warm and tender voice – of course, in German, but the way he sang – or Japan's singer David Sylvian, those were the things I acted on. Much songwriting-inspiration came from Wilco, Nick Drake, Aimée Mann or also Bill Callahan.


But how Kasar came to the definition „countryside record“ is a story of its own: „It is way more singing this time, that's a huge leap, it's much less electronics and there's more space. It's less town and much more landscape and for me it really is this countryside record. „Jungholz“ for example is the name of a village in the southern Black Forest, „Ödland“ is the name of the highest mountain in that area and „Ein Engel Verschwand“ is an adaptation of another village's name there called „Engelschwand“. „So Called Lover“ takes place in „a shady town in the shore“, which in a way is a reference to the Rhine, which could be the mentioned river, and this „whipping willow“, all these are things coming out of my memories, since I originate from that area. It's not autobiographic but I simply imagined how it was back then, sitting under the willow by the river. Partly I recorded the songs right there: „Ein Engel Verschwand“, „Jungholz“ and „Ödland“ and nearly all playbacks were recorded on the piano on which I practiced when I was a child. I always hated it to play this piano: a Hohner, awful sound, but once you used the felt pedal it got such an odd sound, really strange – that's not the sound of a great Steinway, but small and odd.“ So all of this isn't supposed to be autobiographic but without all these experiences Kasar gained in the depths of the southern Black Forest, „Walk On“ probably would never have come into being.

The song that gave the album its title was the first Kasar had written for „Walk On“, right after the release of his debut record. At this stage the theatre art graduate was in a downright stream of composing. Many songs were quickly outlined, however he took ages to get to the finished product. The production phase lasted – with interruptions – from spring 2012 to fall 2013. And since February this year the record is waiting to be thrown onto the market, but haste makes waste. Songs like those you find on „Walk On“, where the piano sounds like raindrops rolling down the scale, while there's an electronic tempest in the background („Ödland“), or which are so fragile they bring tears to your eyes („Care“) simply have to be released in the dying season.

But who thinks that everything on this album is melancholic and sad is proven wrong by „Dawning“, which isn't at all like the rest of the LP: with a jagged new wave beat, a sexy 80s sounding sax and an optimistic chorus, Kasar also shows his up-tempo side and gives some unmissable signs towards radio airplay.

A whole lot slower is the collaboration with long-time friend Lisa Bassenge, singer of Nu Jazz outfit Micatone and Kasar's colleague at Nylon. Together they sing the hypnotic „Dance To The Mallet“, which starts off jazzy, but also offers itself – with its electronic substructure – as a huge playground for remixers. However, the way this liaison came up is rather unspectacular: „One time we went out for dinner and I told her about the album I was





working on and there she immediately offered her help if I needed some. So a few months later I called her and played the song to her and she instantly liked it. She wrote the lyrics to it and then we quickly recorded it in one take. Her musical director Paul Kleber is also involved in the song „You“ and Sebastian Borkowski from Jazzanova plays sax in another song. So it's sort of all around the Sonar Kollektiv and Micatone”. It stays all in the family.

RELATED LINKS:
[1] Kasar - Walk On
[2] iTunes
[3] Amazon

 
top of page 18 Monday, August 18th 2014
And what a revelation is the Cosmic Disco by Venezuelan producer Daniel Grau!
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When Sonar Kollektiv is presenting musical diggings you can be assured some real gems show up. And what a revelation is the Cosmic Disco by Venezuelan producer Daniel Grau! An elusive monographic showcase of his very productive creative period between 1978 and 1982 will be released as a double CD on the Berlin quality imprint later this year.

Now, prior to the showcase compilation, a handful of selected remixes see the light of day – as a proof of how relevant Grau's music is still today. The opening of this firework is a real stunner on its own: One of the innovators of Nu Disco, Daniel Wang himself, is returning after a brief sabbatical! Together with also Berlin based Jules Etienne (one half of Egyptian Nipples) Danny “The Dancer” Wang takes two tracks of Daniel Grau's comprehensive back catalogue to task. “Robot Mágico” off the 1978 album “El Sonido Magico De Daniel Grau” does sound in its reinterpretation by the two disco aficionados as if it was recorded just yesterday. In the same smooth and sophisticated way comes the renovation of “Disco Fantasy” off the album of the same name from 1979. Still, the Non Disco Remix somehow reminds of Wang's groundbreaking releases on Environ and is funky and catchy to such an extend that DJs probably would love to play it three times in a row.

Well, the bar is set very high for the upcoming Daniel Grau remixes. But Sonar Kollektiv wouldn't be Sonar Kollektiv if you wouldn't already know exactly that there are more hot irons in the fire.

RELATED LINKS:
[1] Daniel Grau - Reworks Vol.1
[2] iTunes
[3] youtube

 
top of page 20 Friday, June 20th 2014
Summer hit by Pete Grace & Pete Josef!
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In his home country Poland, Pete Grace is already a well-known and respected DJ and producer. Over the last few years his releases on the Warsaw labels Spekulla Records, Taste The Music and Time2fly Records have also been played over and over beyond the borders of Poland naturally. The next logical step for Grace now, is to make his club sound with its distinctive East European touch available for the public at large – via Sonar Kollektiv.

This way he also benefits from Pete Josef's astonishing voice. Within the last two years the Bristolian singer and one half of The White Lamp has come to be something like the in-house voice of Sonar Kollektiv (f.e. to be heard on Alex Barck's album “Reunion”, on the album “Lux” by Paskal & Urban Absolutes and the last EP by Marlow, “Backroom”). You can hear how well the two Petes match from the very first verse: „Finally I can see your face, finally I can see you the way you taste“, sings Josef and a bassline kicks in as snappy and smart as a Polish hunting dog. But what starts like a proper House tune crumbles again and again into sentimental breaks to gain at the same time vast sex and pop appeal. Worth watching is the accompanying video clip, telling the story of a beauty, which you can only find in Poland.

To unlock the full potential of the track also in the club world, Mao and Rockford Inc. have been kindly asked to deliver remixes. After flying high with the remix of Alex Barck's “Doubter” the twosome Mao keeps the altitude high to drop another bomb, giving every dancefloor in this world the shivers with this impelling, sombre remix. Also not for the first time working for Sonar Kollektiv is Oliver Marquardt under his Rockford Inc. moniker. Which goal his revision of “The Way You Taste” is aiming for says the name itself „Sunday Brunch On A Dancefloor Rework“. And actually, these are the exact occasions in Marquardt's home town Berlin that cause quite often the most euphoria.

Last but not least you get the bonus track “Mleko” with this digital release. A bestial rave monster which, under certain circumstances, could even become one of the biggest smash hits in this year's Ibiza season.

Releasedate: 27.06.2014

Tracklisting:

1. The Way You Taste feat. Pete Josef
2. The Way You Taste feat. Pete Josef (MAO Remix)
3. The Way You Taste feat. Pete Josef (Rockford Inc's Sunday Brunch On A Dancefloor Rework)
4. The Way You Taste feat. Pete Josef (Radio Version)
5. Mleko

RELATED LINKS:
[1] Official Video
[2] Soundcloud
[3] iTunes

 
top of page 20 Friday, June 20th 2014
Paskal & Urban Absolutes - LUX Remixes 2
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Already with the first LUX remix package (SK272, released Feb, 5th) Paskal & Urban Absolutes together with Sonar Kollektiv assembled the cutting edge of the current German club culture:
From Manuel Tur, Trickski over Sevensoul & Bender and Henry L & Ingo Sänger to Sello and Oliver Marquardt some of the hottest players in the game between Munich and Berlin handed in works which are by now default luggage of any upright DJ.

But also the second LUX remix suitcase packs a punch and is – be assured – jam-packed with potential club monsters of all the nights to come. Starting off things is this time not a German but the English man Jimpster. Having founded the deephouse empire Freerange Records this DJ and producer of outstanding merit knows exactly how to trim club music in order to cause frenzy on almost every dancefloor on this planet. His remix of “Bits Of Me” is taking the route towards Berlin School techno sure enough and gains pace, especially on the dub version.

The second track, “Hold Your Head Up”, remixed no more than four times (on the digital release), features the soul-soothing voice of Sonar Kollektiv act Arnold Kasar, who is working on his new solo album(!). Taking these vocal parts to account in particular, the remix by Dortmund based Larse embeds them into a sophisticated arrangement. Which could be shelved somewhere between smooth deep house and the contemporary interpretation of Boogie, which Larse is firmly campaigning for for a while now.
Berlin based Max Heese aka Langeberg (Drumpoet Community, Dessous Recordings etc.) attends to the matter in a total different way by pumping up the song with adrenaline and a hearty dash of testosterone. In over eight minutes you can witness the genesis of a danceable power bar. The 23-years old Kai von Glasow from Berlin is responsible for the probably most neoteristic remix in this series. His interpretation sees the encounter of hypermodern dub aesthetics and bass music how it should sound in 2014.

Last but not least and – as well as the remix by Kai von Glasow – only available on the digital release you get the version by Nils Penner. Having released already on Freerange Records and Wazi Wazi Music, the DJ and producer living in Munich impresses with a ludicrous drum and percussion programming while getting almost cosmic with the interweaving synth pads.

Five, or six remixes (if you count the dub version by Jimpster), which show again strikingly what is and will be the score in the best clubs worldwide in the next few months.

Press Quotes:
“Very nice deep dance floor productions. Jimpster Remix is a sure shot!”
Nickodemus -

“Quality !!
Really Feeling, Jimpster and Kai Von Glasow on the Remixes”
Jullian Gomes -

“nils penner remix wow wow wow!”
Hannes Fischer -

“nice package!”
Andre Lodemann -

“love Jimpster remix”
Stee Downes -

“Jimpster Dub is my remix of choice.”
Vidis -

“Jimpster and Nils do it for me! This is a really, really good release!”
Trickski -

“I've been playing Jimpster's remix in all my sets since I got it. Big Up!”
Fred Everything -

RELATED LINKS:
[1] Paskal & Urban Absolutes - LUX Remixes 2
[2] Soundcloud
[3] iTunes

 
top of page 26 Monday, May 26th 2014
With "Inspiration", Jah Wobble returns to his roots, the love of his youth: reggae music. During a long and varied career spanning five decades, Jah Wobble has recorded more than thirty solo albums and contributed to innumerable projects. On the route from the post punk of Public Image Limited (PiL) via dubby dance music (epitomised by Jah Wobble's Invaders Of The Heart) to world music and ambient in all its facets, the exceptionally gifted bass player hasn't left out any genre of note in modern music.

With "Inspiration", Jah Wobble returns to his roots, the love of his youth: reggae music. With the singer PJ Higgins, he found the perfect companion, voice and songwriter to accomplish this endeavour with flying colours – a match made in heaven. Higgins has collaborated with a host of artists over the years, lending her quirky and distinct anecdotes to many a project and recordings. Currently, she co-fronts the critically acclaimed Dub Colossus, who were winners of the Songlines Cross Cultural Collaboration 2013. The album was co-written and co-produced with Alex McGowan at his London-based Space Eko Recording Studio. His previous collaborations include Tricky, Martina Topley Bird, Wilko Johnson and many more...

The opener "My Heart's Burning" sparkles with the magic that arose during the recording sessions between Wobble, McGowan and Higgins and sets the groundwork for the next seven tracks to come. PJ Higgins’ vocals are piled layer upon layer and weave seamlessly in the deep, dubby basslines and the mellow guitar sounds. This masterfully delicate reluctance is present over the full length of the album. Now and then, for instance with “I Did Bad”, it hints at trip hop and you wouldn't be surprised if Tricky raised his head. However, the mastery of these musicians show off their craftsmanship on each and every song.

It's only with the third track, “King Of Illusion”, that you finally notice that the foundation of this album is actually reggae. The trumpet of Sean Corby and the offbeat keys by Wobble himself make slight references to the bygone sound of Studio One. On the other hand, you can clearly hear that the separate instruments have been mixed in a lavish way to create what we might label “spherical reggae”.

The core of this masterpiece is, not unsurprisingly, the title track “Inspiration”. Alex McGowan caps it all off with his distinctive guitar playing and the thriftily applied Fender Rhodes add extra virtuosity to the already complex arrangement. “Floating On High”, sings PJ Higgins, referring to the transcendence achieved when you align yourself to all your inspirations and consider yourself as an aggregate of them. And this album is, figuratively speaking, jam-packed with influences and ideas, as many as it needs to make your head spin.

Giddiness is nowhere in sight, though, thanks to Jah Wobble's extra-experienced bass playing that pieces all the individual songs together to one big beautiful picture. It's the common thread to everything that's going on and the grounding of the electrifying voice of PJ Higgins. On “What Have I Become”, there's no holding back anymore and she catches fire delivering a performance that goes right through you. The drums and percussions played by Marc Layton-Bennett add a heavy dose of voodoo to the mix. Even a spiritual (“Chaingang”) find its way on to this immaculate and, after repeated listening, truly impressive collection. The call & response by PJ Higgins is simply accompanied by hand claps and foot stomps and, of course, Jah Wobble's restrained bass.

All in all, this is a well-rounded package which reaches beyond classic reggae by turning out to be much more than that. If PJ Higgins, Jah Wobble and McGowan were new kids on the block, they'd be a team to keep an eye on. Keeping an ear to the ground doesn't hurt though.

Release: 30.05.2014

RELATED LINKS:
[1] Jah Wobble presents PJ Higgins - Inspiration
[2] iTunes

 
top of page 02 Friday, May 2nd 2014
Jah Wobble presents PJ Higgins
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With this new release, Sonar Kollektiv is delighted to introduce an artist with a reputation that precedes him. The living legend that is Jah Wobble would actually need no further introduction. As a founding member of Public Image Limited (PiL), he has collaborated with Holger Czukay, Brian Eno, Francois Kevorkian, Björk, Peter Gabriel, Sinead O'Connor and Bill Laswell (to name but a few). Thanks to his experimental journeys into the nooks and crannies of dub and world music, the London born and raised John Wardle (his real name) has become one of the most influential musicians/producers of our time. There's probably no other bass player who constantly reinvents himself as recklessly and unabashedly as Wobble. Over the last seventeen years, he chiefly released material on his own label 30 Hertz Records. Therefore, it's an even bigger honour for Sonar Kollektiv to have him put out his latest work on their imprint.

On the upcoming album “Inspiration”, Wobble has teamed up with producer/engineer Alex McGowan (Tricky, Martina Topley Bird, Wilko Johnson) and the London-based singer PJ Higgins, who has collaborated with a host of artists over the years, lending her quirky and distinct anecdotes to many a project and recordings. Currently, she co-fronts the critically acclaimed Dub Colossus, who were winners of the Songlines Cross Cultural Collaboration 2013. The album was mostly recorded and mixed at McGowan’s Space Eko Studio in London.

As a pre-album 12inch, we get the track “Watch How You Walk” in three remixes that couldn't be more diverse. For instance, let's take Dennis Bovell. He is an undisputed maestro of UK reggae – having worked as a musician, producer, writer, and arranger on countless reggae, punk, pop and rock albums. His dub albums were an inspiration to the likes of Adrian Sherwood and Mad Professor, as well as being the pioneer of Lover's Rock. His remix of “Watch How You Walk” catches that specific UK sound system vibe perfectly and leaves enough room for PJ Higgins' voice to shine to the fullest. For extra rubba dub effect he even adds some of his own ad-libs.

Next up is Anthony Parchment, aka DJ Kutz. This younger producer draws from bass and post-dubstep as well as basic electronic music forms such as house and techno. He sports a more dapper rework interpreting Jah Wobble's dub roots to work for the current flavour of the floors around the world. Kutz does this masterfully with enough natty twists to maintain his remix timeless like the original. Future bass music.

Not many artists have the privilege to even think about asking the godfather of dub, Lee “Scratch” Perry, to have a go at remixing their material. The former Upsetter, now at the age of 77, still manages to deliver some pure magic and an updated 2014 version of what he used to cook up in his infamous Black Ark studios in Kingston more than forty years ago. Be prepared for a sound design that is as futuristic as it can get and some added vamp rhymes by the master himself. Even without this remix, this release would be a highlight of 2014. But with Lee Perry's contribution, it's one of the essential 12inches of the year. Let's bag it in!

RELATED LINKS:
[1] Jah Wobble presents PJ Higgins - Watch How You Walk EP
[2] Lee Scratch Perry Remix

 
top of page 14 Friday, March 14th 2014
Thanks to 10.000 Facebook Fans!
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Thanks to all our Facebook Fans: Free Download of Jazzanova - Now There Is We feat. Paul Randolph (Kuniyuki Remix - Sneak Preview). Limited time, only! Happy weekend everyone! xxx SK Crew

RELATED LINKS:
[1] Free Download

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