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Registrado: 07 Sep 2006, 11:15
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Bueno un pequeño homenaje para este gran sello llamado NINJA TUNE

Ninja Tune es una discográfica independiente inglesa con sede en Londres, fundada en 1991 por Matt Black y Jonathan More, el dúo de DJs conocido como Coldcut.

La discográfica cuenta con una amplia plantilla de DJs reconocidos y productores, además de organizar actuaciones en directo y eventos relacionados. Los artistas que pertenecen a Ninja Tune, se caracterizan principalmente por el carácter innovador y de gran calidad de sus creaciones. Aunque no se considera especializada en ningún estilo concreto de música, en sus producciones destacan la electrónica, el jazz, el hip-hop o el funk.

Ninja Tune consta de varias discográficas más especializadas en estilos musicales más definidos, como NTone en música electrónica experimental y Big Dada en hip hop británico respectivamente

Recopilatorios Ninja Tune

The Original Sampler (Julio 1993, BS001)

Ninja Cuts Funkjazztical Tricknology (Marzo 1995, ZENCD15)

Ninja Cuts Flexistentialism (Marzo 1996, ZENCD22)

ColdKrushCuts - Mixed by Coldcut / DJ Food & DJ Krush (Febrero1997, ZENCD26)

Ninja Cuts Funkungfusion (Abril 1998, ZENCD33)

Zentonedada (muestra de Ninja Tune, NTone y Big Dada) (1999, ZENTONEDADA 001)

Xen Cuts (Septiembre 2000, ZENCD49,)

Xen Cuts Missed Flipped and Skipped (Septiembre 2000, ZEN49)

Solesides Greatest Bumps (Octubre, 2000

Urban Renewal Program (Agosto 2002, ZENCD72)

Zentertainment 2002 (Agosto 2002, ZEN2002)

ZEN CD - A Ninja Tune Retrospective (Enero 2004, ZENCD85)

ZEN RMX - A Retrospective of Ninja Tune Remixes (Enero 2004, ZENCD85R)

Zentertainment 2004 (Marzo 2004, ZEN2004)

Solid Steel
Solid Steel es el título de una serie de CDs de remezclas, un programa de radio y eventos en clubes nocturnos donde artistas de Ninja Tune demuestran su talento en directo.

Artistas en Catálogo

9 Lazy 9


9 Lazy 9 joined Ninja Tune when Ninja Tune was just one grey metal cupboard in a run down London loft. Operating out of Italy in 1992 they soon gained respect for their ground cracking first album "Paradise Blown". Their sound, distinctively more sun than North Sea, is a smoky Mediterranean mix of vines and good times. Keir Fraserello and Giacomo Braddellini have been making music for many years in different guises before combining forces in Rome in the early nineties. They have been working with some of Italy's finest musicians on their latest album, "Sweet Jones", recorded in the Umbrian Hills near Orvietto. Gianluca Petrella plays trombone, Mishael Levron guitar; Manu Bandettini plays flute with Adriano Tirelli on bassoon. The combined force brings you one of the freshest records to come out of Italy for some time


Sweet Jones

Electric Lazyland

Paradise Blown

Paradise Blown (reissue)


Electric Lazyland

Black Jesus

Take Nine

Airborn Audio : /
If anything, APC’s real achievement was to prove that hip-hop did not have to be a violation of the event of thinking. The group was lauded for its word wars and cerebral excursions into disintegrating beatscapes that liberated listeners from the braindead habits created by a decade of all-to-predictable postures and sounds. Now slimmed-down, Airborn Audio has reevaluated its stance, and spent the past eight months in the studio lab-ing out with a newfound precision and a new kind of savage love for their work.

With this album, High Priest and M Sayyid again promise a viral presence never to be equaled, yet sure to spawn another pox of unsuccessful imitators. Having blistered venues and audiences across NYC for nearly a year, Airborn has honed its live show to cackle in the face of expectation with a taut assault on convention and languor.

For this enigmatic duo, biographical information has always seemed a needless clutter given the singularity of their music. Good Fortune is a serious, unabashed, and self-aware, yet non self-conscious masterwork. This is a physical music that feels disjointed, yet hyper-connected by insisting on the absence of boundaries rather than making aims to blur them. M Sayyid and High Priest plunge headlong into competing reference points and clashing styles, mining both high-brow poetic tantrums and ecstatically obtuse jingles — what emerges is a sequence of pan-cultural aphorisms that sound something like the happy bastard of Sun Ra, Luc Ferrari era-musique concrete, and Moondog freestyling on an acid-fueled bender. On the track Monday through Sunday, Sayyid and Priest are self-assured, staging invasive self-analysis over broken toy beats simultaneously influenced by early electronic music such as Alain Goraguer’s soundtrack for Fantastic Planet (1973) and the tone-deaf instrumentals of early Nintendo. On most of the tracks, various strains of beats inbreed and collide with one another, creating an arrhythmic chug — a skewed momentum of falters and half-starts from which Priest and Sayyid deliver skittering lyrical passages where narrative and color explode. Airborn Audio’s sonic braindance is populated by blissed-out tempos, nearly invisible allusions, and a verbal friction that briefly stutters before cascading into an avalanche of swords. No one else so effortlessly launches into such convincing party anthems directly on the heals of malevolent linguistic traps.

In the manic track Bright Lights, this hybrid speech gives way to an ambivalently robotic pronouncement: “Welcome to Airborn Audio/Your new provider for the finest in sound/Crews might come and crews might go/But it’s the hottest new sound around.” Although not such a thoroughgoing analysis — the mantra puts the complexity of Airborn Audio, well, impressively simply.

Good Fortune is a dense, psychedelic rap attack. Just when the beats start to sound the slightest bit jiggy, they’re overtaken with alien drones and bits of electro-musique-concrete and when Priest and Sayyid’s ultra-bugged, hyper-intellectual flows kick in, you can practically smell the acrid fumes from the burning microphones

Airborn Audio attacks from all angles, deploying beats ranging from sludgy screwed-down productions to master blast blip-hop and heady verses that materialize with varying degrees of precision, pitch and pace. Together the group is a spinning ball of next-level hip-hop thought moving towards your eardrums.

Good Fortune
Close Encounters Mix Tape
Inside The Globe

Carlos Nino and Fabian Ammon are Los Angeles-based production duo Ammoncontact. Over the past 5 years they have released their unique brand of jazz and funk-influenced hip hop on a wide variety of celebrated indie labels such as Emperor Norton, Eastern Developments, Soul Jazz and Plug Research. Recently these highly acclaimed music makers signed an exclusive recording deal with Ninja Tune.
The majority of Ammoncontact’s releases have been instrumental, with sparse vocal elements and samples and an occasional full on collaboration with a rapper, singer or poet. Their latest - and in every way greatest - work to date, “With Voices,” is a new step for the group, where artists like living legend Yusef Lateef, Dwight Trible (“Love Is The Answer”) and Kamau Daaood (L.A.’s premier poet) are featured on tracks next to Prince Po (Organized Konfusion), Brother J (X-Clan), Abstract Rude (Project Blowed) and many others. Folk singer Mia Doi Todd and DJ legend Cut Chemist (Jurassic 5, Ozomatli) also make appearances.
Friends for over 10 years, Carlos Nino and Fabian Ammon consider themselves musical kindred spirits. Writer/arranger/producer/musician/DJ Nino is very busy in the music world with his projects The Life Force Trio, Build An Ark, Hu Vibrational, Go: Organic Orchestra, The Sound Of L.A. and Spaceways Radio, but he has always made his way back to home-base with Ammoncontact to focus on reaching a hip-hop audience. Ammon stays busy in his home studio making beats and taking care of his young son. Together, the two find time to share ideas and add to each other’s individual tracks. Nino is the primary producer and conceptual mind behind the Ammoncontact releases but the unique sound comes from the support, encouragement and creative input of Ammon, too.
“With Voices” was the result of an effort to collaborate with a diverse cross-section of L.A.-based artists. Nino and Ammon put together the tracks and Nino set out to enlist as many of his friends as he could to participate. The tracks flow naturally as an album and feel linked in a deeper way than is usual on “producer plus guests” albums. Live instrumentation and numerous sample and programming sources make up this soulful and profound sound. Please read the credits to see who did what and sail deeper into the sea of Ammoncontact.
With Voices
New Birth
One In An Infinity of Ways

Amon Tobin
Somewhere back in the mid-90's a fresh faced Brazilian ex-pat living in the UK decided he was going to put down his harmonica, pick up a sampler, and name himself after a Stephen King novel. The resulting album, Cujo's 'Adventures In Foam' (released on Ninebar records, later reissued on Ninja Tune) signaled Amon Tobin's entry into the world of music. Well actually there's a pre-Cujo project also, but everybody knows not to talk about it... but if you get Amon really drunk... actually no, even then he won't play it for you.
Immediately upon hearing this record, the powers that be at Ninja Tune signed him up to record as Amon Tobin, and he quickly went to work on his debut 'Bricolage'. If you'll recall, these were the 'trip-hop' years for electronic music, where any clown with a sampler and a collection of Blue Note records could knock off some half-baked boutique hotel background music. But 'Bricolage' shone above all that. Although employing a
marriage of jazz and beats, it stretched it further by bringing in elements of bossa-nova, batucada, and jungle, and combining it with a sense of song-writing that elevated it above the standards of that aforementioned scene. I mean hell, it has a song on it which was inspired by Amon taking a piss on his neighbors bike after some domestic living dispute (‘A Day In My Garden’)...this was clearly no good vibes jazzy beats guy Ninja had signed.
Next up came 'Permutation'. Although stylistically a logical follow up to 'Bricolage', it was also on this album where things starting taking a noticeable turn to a much darker output. In fact you can actually trace Amon’s career based on coffee shop & dinner party accessibility...and let's just say that this record signaled the end of anyone being able to use Amon records as background music. This one cut a wide path; from the film tributes of 'Like Regular Chickens' & 'People Like Frank', to the monster breaks on 'Sordid' (easily his biggest 'hit' in the catalog), to the caravan-esque shuffle of 'Nightlife', and ending with the ultra-lush 'Nova' (which later was used for Bebel Gilberto's 'Samba Da Bencao on her debut album).
Call it end of millennium tension, but while the rest of us were out stockpiling food for the apocalypse, Amon was channeling all that into his next release 'Supermodified'. Treating it like if this was the end of the human race as we knew it and computers would never
work again (or god forbid, if we were to be ruled by apes), than damn if he wasn't going make this banger before the lights went out. If Amon's career is a 4LP set, then this 3rd installment appropriately comes off like the 3rd side of any 4LP 70's rock opus...a time to push some boundaries, challenge the fans a bit, and set the stage for what's to come later. The record was an experiment in sound. Marking the point where Amon become more and more obsessed with unheard but felt bass frequencies, and where he allowed
a few collaborators into the mix (mainly Chris Morris of Brass Eye & Blue Jam fame, and Montreal beatboxer Quadraceptor). The record where the bossa-nova/jazz Amon Tobin was for the most part laid to rest and the dark/electronic/soundtrack Amon Tobin came into form. 'Four Ton Mantis' is a classic, 'Deo' would have done Sergio Leone proud, and 'Get Your Snack On' paid tribute to one of the Internet's finest fake commercials. In 2002, Amon decided to relocate to Montreal. As Ninja Tune's North American headquarters is based there he'd spent a lot of time soaking in the culture and summer sunshine of the city, never once thinking that he'd never actually visited during the winter... So somewhere around the time he felt the sensation of his nose hairs freezing for the first time, he settled into his new studio armed with a fresh set-up and an A La Carte Express menu by his side (Montreal's bible of food for shut-ins) to put the finishing touches on 'Out From Out Where'. When Sun Ra penned the song ‘Out From Out There’, 'there' clearly meant outer space. When Amon decided to call his record 'Out From Out Where', the 'where' meant just that... a record that came from somewhere nobody could quite pinpoint. This was the logical conclusion of what the previous records had hinted at. It was a cohesive and banging record, but one with no obvious reference points. It just sounded like Amon Tobin, and Amon (more so than alot of artists) can actually say his sound is very much recognizable as his own. This was wide screen Amon, dropping the cut-up hip hop of 'Verbal', the Eli Wallach inspired 'Hey Blondie', the future electro-disco of 'Cosmo Retro Intro Outro', and the terrifying death march of 'Proper Hoodidge' .The tour for this album also resulted in Amon's entry into the Solid Steel mix series, with a tough ass Final Scratch DJ set captured in Australia released in June 04.
In early 04 video game developers Ubisoft decided to approach Amon to compose all the music for the 3rd installment of their enormously popular Splinter Cell series. Seeing as he wasn’t able to get past the second level of Splinter Cell 1, he thought that making the soundtrack would clearly be an easier way to interact with this game. This was a chance for Amon to experiment with different ways of composing and to finally realize a teenage ambition (although this soundtrack in no way reflects his love for Galaga…even though that was a hot game). Also composing a proper soundtrack allowed him to be a little more progressively excessive, with the inclusion of extended string arrangements and over the top Hammond organ solos woven into his sounds. Like Italian prog sensation Goblin composing for a Bond film would be an apt comparison for this work. A love of soundtracks has always been a key influence in his work, and it clearly shows here. The game will be released in March 05. An accompanying soundtrack on Ninja Tune will be released in Jan 05. A 5.1 DVD-Audio version will be released simultaneously with the game, putting Amon at the forefront, as always, of pushing forward sounds.
Chaos Theory - Splinter Cell 3 Soundtrack
Solid Steel Presents Amon Tobin:Recorded Live
Out From Out Where
Adventures in Foam
Collaborations EP
Verbal (Remixes)
4 Ton Mantis
Like Regular Chickens (mixes)
Piranha Breaks
Chomp Samba

Animals On Wheels
Animals on Wheels is just one individual - Andrew Coleman. Based a few miles outside Cambridge in the UK, Coleman works full-time on writing and producing music.
Coleman has been involved in making electronic music since 1994 after attempts at forming bands with other musicians fell flat. Starting out from humble beginnings, sharing a 2nd hand sampler and Atari with friends, the animals on wheels sound was only fully developed when Coleman began using a pc computer and found the delights of audio multitracking.
Animals On Wheels first released material on Bovinyl, a home-grown independent which was set-up by Cambridge comrades Tim Gould (Milky Boy), Adam Butler (Vert) and Richard Watson (DJ Tiny Penis). The impetus behind the label was purely a gratuitous opportunity to exploit the bovine form and, of course, to put their own music on vinyl. Despite only a few pressings being made, Bovinyl records managed to wing their way across the globe and quickly became known for a unique and slightly twisted take on electronic breakbeat driven music.
Animals On Wheels releases on Bovinyl [12" only]:
BOV 3 'Serious Piss Take EP' [only 30 test pressings made]
BOV 4 'Baits Bite' [includes the track 'Soluble Ducks']
In 1997, Animals On Wheels released 'Designs and Mistakes' on Ninja Tunes - a blend of processed samples, manipulated break-beats and melancholy melodies - defining the unique Animals on Wheels sound. Over the last 2 years the Animals On Wheels sound has developed and deepened. In 'Nuvol i Cadira', the latest album release on N-Tone, the Animals On Wheels sound defined by Designs and Mistakes is still there but the fast tempos found in earlier releases have given way to a richer, more organic sound.
The title of the album, 'Nuvol i Cadira', was inspired by Coleman's interest in the art and ideas of Antoni Tàpies , a contemporary Catalan artist who lives and works in his native City of Barcelona. 'Nuvol i Cadira' translates from Catalan as 'Cloud and Chair' and is the name of a Tàpies sculpture found on top of the Tàpies foundation in Barcelona.
Coleman has produced a video to accompany a tune from 'Nuvol i Cadira', 'Never in and Never Out', which uses filmed DV footage from the river and fen landscape where he lives, with animation and digital painting effects. In keeping with his preference for working alone on music, Coleman produced, animated and edited the video himself.
Nuvoli I Cadira
Designs & Mistakes
Modular Existence
Joyless Fade Impeller EP
Cooked EP

Antibalas Afrobeat Orchestra
Antibalas is the spirit of Afrobeat reincarnated as a hard-hitting collective of musicians in New York City. The group carries on the soul of Fela Anikulapo-Kuti, founder of the unique Afrobeat sound, which unites highlife, jazz, funk, and traditional African elements with unabashed political messages. Antibalas-which means "anti-bullets" or "bullet-proof"-shoots out monstrous horns and bass layered over polyrhythmic beats coupled with furious lyrics inciting insurrection in English, Yoruba, and Spanish.
Antibalas formed in 1998 from members of Desco Records' Soul Providers and the Daktaris. They were quickly joined by like-minded New York musicians active in the worlds of jazz, rock, improvised music, and traditional drumming from Cuba and Brazil. The union of Latinos, whites, African Americans, Africans, and Asian Americans is based in Brooklyn, NYC.
With fifteen band members, Antibalas-which is run as a collective-cannot easily be described in a traditional biography. The group's players come from such diverse professional, cultural, and personal backgrounds that only a spray of bullets can shed light on the foundation of this musical insurrection.
Liberation Afro Beat Vol.1
Blockhead grew up in downtown New York City. The son of an artist, early on he found his passion was for music. A fan of a whole range of sounds, especially hip-hop, Blockhead steadily built a tremendous collection of tapes and later CDs from innumerable artists. After a brief stint as a rapper, he realized his calling was behind the boards and not on the mic, and from there he began to produce beats.
Since making that decision, he's been kept pretty busy. Blockhead produced 9 tracks on Aesop Rock's critically acclaimed album Labor Days. Additionally he produced half the tracks on Aesop's follow up EP, Daylight. Blockhead has also been working with other indie giants such as Slug of Atmosphere, Murs, Mike Ladd and SA Smash. He also found time to complete a break beat album entitled Blockhead's Broke Beats, with 10 hard hitting instrumental tracks, which was released on Mush Records, the US home of cLOUDDEAD. And just to prove that he ain't all about art-rap, Blockhead produced 2 tracks on the newly crowned Skribble Jam Battle Champ, MacLethal's full-length album. Oh, and the guy does comedy, too. He's a member of the Party Fun Action Committee who's hip-hop/comedy debut album was recently released on the legendary Def Jux. And what was the other thing? Oh yeah, exquisite, emotional instrumental hip hop on the one and only Ninja Tune…
Downtown Science
Music By Cavelight
Alright (feat. Cage)
Expiration Date
Sunday Seance/Jet Son (feat. Aesop Rock)
We Didn't Invent The Remix
Insomniacs Olympics

It never fails to amaze me how swiftly a moment of fortune can so easily become a noose round the neck. Especially in the oh so fickle world of the music biz. In the case of Bonobo the moment, or perhaps the year, of fortune came when he released his debut album 'Animal Magic', at the precise time that 'chill' was the buzz word on everyone's lips. Never mind the fact that, even on the evidence of those first efforts, he was a truly gifted producer, you can't beat the power of the buzz. As is the way of these things, the buzz became the murmur, and soon became the background hum, as endless chillout comps, ads, and media campaigns swamped the shore of our consciousness.
A young Simon Green (for it is he who is the monkey king) refused to be dragged down by the lazy journalistic prose that labeled him 'chillout' and 'downtempo'. Far from it. He upped the stakes, and indeed, even stuck his neck out, moving from his original label Tru Thoughts to Ninja Tune, and set about taking things to the next level.
Cos it's all about the levels with Bonobo. Not in a techy, studio kinda way, but in the levels of involvement with his music. On the surface there are the organic, pastoral atmospheres, the catchy melodies, the elements that caught people from his first album. You can engage with a Bonobo tune in that way if you wish, and will be well rewarded for it. But it's the deeper, slightly hidden levels that you should investigate, for they bring the greatest prize. It's these elements that he explored on 'Dial M For Monkey', as a greater focus on live instruments, the intricacies of rhythm, the darker shades of the soul, and almost a sleight of hand, that meant that you could be in one mood one minute, and the next you would somewhere different.
'Dial M For Monkey' showed the set of brass balls that Bonobo (like his namesake) had, and these would be tested again as he set about building his live band. He duly found the right musicians, self financing rehearsals, and fine tuning a live show that brought out the elements of his music that had hitherto gone largely unnoticed, as the band swung and rocked their way through shows at Glastonbury, The Big Chill, Jazz Cafe, and internationally exotic settings from Italy to Russia.
He set about building his DJ style in the same way, refusing to conform to the preconceived ideas of a laid back style, and aiming headlong for the dancefloor, with a heavy mixture of hip hop, weighty jazz, broken beats, Latin, funk, and soul, with the occasional cheeky bit of psyche rock and drum and bass thrown in. Just to keep you on yer toes right? Now a DJ of international repute, Bonobo has played all over the world, including playing to huge audiences in the USA and Canada with Amon Tobin, a progress culminating in Ninja Tune asking him to put together a Solid Steel mix album. Bugger the lounge, lets dance.
Now, with the expectations duly dispatched with the good hiding they deserve, the field is wide open for Bonobo to push himself even further, and we await the next album, due late 2005 / early 2006, with our minds well and truly opened to the possibilities.
"Lots of live shit", says Bonobo."Strings, horns, drums and vocals. More energy and a bigger, heavier sound".
Come on then son.
Days To Come
Solid Steel presents Bonobo: It Came From The Sea
Dial M For Monkey
One Offs, Remixes & B-sides
Animal Magic (released by Tru Thoughts Recordings)
Animal Magic
Nightlite / If You Stayed Over
Live Sessions EP
Pick Up
The Shark
Scuba EP

Clifford Gilberto
Clifford Gilberto, the unknown lovechild of Astrud Gilberto and Stan Getz, was born 28 years ago in the middle of nowhere...
When he was only 9 years old, his parents moved from the middle of nowhere to Germany, where he lived until he was 16. He moved to the U.S. to go to high-school and worked on a junkyard and a farm until he had enough money to buy a beat-up GrandAm (pictured on his debut album) and went on a half year trip across the U.S.
When he was 19, he moved back to Germany to study product design in Frankfurt. Bored by his school's design approach, he decided that designing spaceships for movies was much more fun and started to work as a production designer and 3D-animator in a german film company. He now lives in London where he runs hi-res! (, a graphic design company.
Clifford has been a classically trained pianist since the age of 8. When he was 13 he started to get into Thelonius Monk and Charlie Mingus and drove his piano teacher up the wall by trying to improvise on top of Rachmaninoff preludes.
He played in several bands, being influenced by both old school-jazz and nitzer ebb, but eventually decided that he could achieve more by himself. Actually, he never thought about releasing his material, until his girlfriend made him send a demo tape to his favourite label and a week later, sitting in an L.A. hotel room (now that's what I call
rock'n roll), he got a call from Ninja Tune. And so The Clifford Gilberto Rhythm Combination was born...
Clifford released his debut album 'I Was Young and I Needed the Money' in October 1998 and went on an extensive tour through the UK, Europe and Australia. He has since written two soundtracks, performed all over Europe and played both the prestigious North Sea Jazz Festival in The Hague in 1999 and the first ever North Sea Jazz Festival in Capetown, South Africa, in March 2000.
His music has taken a sharp turn from the hyperactive beats of the first album into a more relaxed, accessible and more musical direction. it is essentially a soundtrack to an imaginative film. it emphazises on the contrast of 70's funk and 00's digital datamanipulation, or as Clifford describes it : "It's like playing pong on a dreamcast while listening to a curtis mayfield-CD with dropouts, or like wearing a really funky shirt with lots of pens and a calculator in the shirt-pocket... " Whatever that means.
Next year will see the release of his new album "Shift!" and the single "The 10th Victim" and, of course, his own website.
I Was Young And I Needed The Money
Deliver The Weird

Chris Bowden
Let's face it, despite all its history, the myths and legends that surround its most famous exponents, the black and white photos, the recordings, the movies, even, the saxophone wasn't most contemporary music-makers idea of fun in the early nineties.
Chris Bowden could easily have stayed one of the unsung backroom musicians of the British scene - a fine sax player, a talented and knowledgeable arranger and composer. He could have been a straight-up UK jazz man playing in tiny clubs to 30 or 40 devotees, as credible as fuck.
He chose neither route.
Chris Bowden chose to make 'jazz' that was as contemporary and relevant as sampled, sequenced music. He chose to ignore obscurity, but to give Kenny G the finger, too. In 1996 he released 'Time Capsule' (Soul Jazz) to immense critical acclaim and general appreciation. Space jazz with the rigour of a classicist, by turns forbidding and kitsch, a superb mood piece rather than just a succession of tunes, it established that Bowden was a huge talent in his own right.
Of course many people (mainly the people he had worked with, or those who read record sleeve credits carefully) already knew that. Bowden had started his professional career in the heart of the acid jazz boom playing sessions and shows for Talking Loud's K-Creative. He had continued to work Simon Richmond (Palm Skin Productions) on Mo' Wax. He had also contributed arrangements and playing for Jessica Lauren (Soul Jazz) and Jhelisa Anderson (Dorado), contributing a disctintiveness to all these projects that would only be recognised as his in retrospect.
After 'Time Capsule' came out, he also played a large part in helping 4Hero develop the more organic, jazz-soul take on drum & bass that made up the first half of their "2 Pages" album. He wrote the music, arranged the strings and played sax on their "Hero" single, performing with them at live shows too. Also Chris MD'd and performed for American jazz legends James Mason, who was touring music from his Rhythm of Life album, and Doug Karn, with a set compiled from his Black Jazz Records catalogue.
He has also worked as a session musician for Basement Jaxx and, perhaps most pertinent here, played in The Herbaliser live band for the last three years. It was through The Herbaliser that Bowden came into contact with Ninja Tune and began working on the material we are now releasing (the 12" Beautiful Nasty produced, incidentally, by Jake Wherry). A direct development from his work on 'Time Capsule', the new material perhaps has a looser, funkier feel, but still showcases his excellent playing and exemplary, instantly-recognisable way with a string arrangement.
As for live appearances, his band may have slimmed down from Time Capsule's twelve-piece, but his current trio (who blew the roof off Ronnie Scott's at Ninja's 10 year celebrations last autumn) is set to cause serious tremors wherever they play.
Chris Bowden has chosen his own path. Follow it now.
Slightly Askew
Crockers & Killers
Beautiful Nasty

Coldcut: Jonathan More and Matt Black
Most people come into music, do the same thing for a few years, slowly sink back into obscurity and spend the rest of their life collecting publishing royalties and re-forming for tribute tours. Their biographies can afford to be quite short – most of us aren’t that interested in golf or angling. The problem with Coldcut is that, despite their veteran status, they act like two unruly children who just won’t sit still. Which is why even a brief trawl through their various activities looks like a large chapter of a big book.
Ex-art teacher Jonathan More and computer programmer Matt Black have been a team since the mid-eighties. Both Matt and Jonathan had been building their DJ reputation on the nascent rare groove / warehouse party scene. Jon had a show on the then pirate station Kiss FM and worked in Reckless Records in Londons west end, where he sold Matt a bootleg of ‘Across The Tracks’ by Maceo & the Macks. Matt came back the next day with “Say Kids, What Time Is It?” and suggested they work on it together. Meanwhile Jon helped Matt onto Kiss FM and they soon started the joint “Solid Steel” show (still running to this day). “Say Kids…” was released in 1987 becoming the UK’s first sample-built record. In the same year the duo defined the term ‘remix’ on Eric B and Rakim’s “Paid in Full,” cutting and pasting Israeli singer Ofra Haza’s vocals in a notorious reworking which became a worldwide classic. Coldcut’s talent was recognized by a BPI “Producers Of the Year” award in 1990. Their debut album, “What’s That Noise”, went silver.
The concept of setting up an independent label took shape during a trip to Japan where Matt and Jon made a discovery: “We found a book about cut-out-and-keep Ninjas. They build these amazing houses where they have special traps so they can disappear and reappear somewhere else. They were all about artifice and hidden identity.” Tiring of the juggernaut marketing ethic of major labels, this stealthy philosophy seemed appealing. They wrapped up their involvement with the Big Boys in 1993 with the album “Philosophy” and plunged into the establishment of Ninja Tune, though not before their ambient cover of “Autumn Leaves” had kickstarted the easy listening movement.
The story of Ninja Tune is another whole chapter and has been told elsewhere. It perhaps suffices to say that the organisation has grown into one of the classic independent labels to emerge in the ‘90s, providing a welcoming home to a range of acts including Mr Scruff, Cinematic Orchestra, Herbaliser, Kid Koala and Wagon Christ, as well as the likes of Roots Manuva and Ty through the later-established Big Dada imprint.
As befits a pair of DJs who seem to believe that the whole world is there to be cut and pasted, “we mix things, over as broad a spectrum of activities as possible.” Hence the duo’s label-running activities in the early and mid-nineties were augmented by a plethora of other endeavours: the Stealth club night (Club of the Year in the NME, The Face and Mixmag in 1996), the pioneering Pipe web site initially written by Coldcut themselves in 1995 and a variety of multimedia experiments with Rob Pepperell as Hex. Fired up by the possibilities presented by digital interactivity, Coldcut and Hex began developing toys and art installation pieces ranging from the “Top Banana” computer game to the “Generator” for the Glasgow Gallery Of Modern Art and “Synopticon” for the JAM, a major exhibit at London’s Barbican.
While spending the early 90s building this diverse, avant-garde collage of activities, Coldcut were maniacally preparing their own musical breakout. In 1997 they unleashed their fourth album, “Let Us Play,” the first on their own label. The album featured collaborations with highly political ex-Dead Kennedy Jello Biafra, legendary funk drummer Bernard Purdie, poet Salena Saliva, and - one of Coldcut’s biggest inspirations - Steinski. Both album and classic single “More Beats and Pieces” reached the UK Top 40. And, as important as the art was the politics – tracks like “Timber” and “Atomic Moog 3000” setting out an anti-corporate, ecological, anti-authoritarian vision that
found it’s technical expression in the group’s continuing interest in interactivity with their audience.
At the same time, Coldcut were still doing their “Solid Steel” show on Kiss every Saturday, keeping up the traditional mixed bag and stacking up plaudits such as the Sony Award for Best Specialist Show. All of which led to their “Journeys By DJ” mix album, “70 Minutes of Madness,” which was released to rave reviews and declared the Best Compilation of All Time in Jockey Slut, 1998. By 2000, though, the culture at Kiss has become too commercial for Black and More and they moved the show to BBC London Live, although their main focus was on building its profile as an internet station.
Prior to the release of “Let Us Play,” Matt Black was pioneering the concept of VJing at diverse parties such as the legendary Telepathic Fish, Sabresonic and The Big Chill. And the first fruits of this collision of audio and video were to be found on the free CD-Rom which accompanied the CD. It was, however, only with the tours that followed the record’s release that a wider audience began to get an idea of what Coldcut were up to. To promote their work live, Coldcut designed their own VJ software, VJamm, allowing the live re-creation of whole audiovisual pieces. Video could now be jammed or scratched with as easily as sound and audiences were blown away by this new direction.
Coldcut called the show CCTV and have presented is everywhere from Sonar in Barcelona, the Montreux Jazz Festival, the Glastonbury Dance Tent, Roskilde, the Queen Elizabeth Hall (as part of John Peel’s Meltdown), Steve Reich’s remix project launch party in New York and the Darklight Digital Film Festival in Dublin - to name but a few. John Peel, incidentally, was a staunch fan of the group and, in addition to three Sessions during his lifetime, Matt and Jon were chosen to introduce the DJ section of the John Peel Memorial BBC concert night last year.
1999 saw the release of remix album “Let Us Replay,” featuring contributions from Cornelius, Carl Craig, Shut Up And Dance and Ryuchi Sakamoto amongst others. Perhaps more importantly the accompnaying CD-Rom also included a free copy of Vjamm, software which by this point had ended up on permanent display in the Interactive Games Room of The American Museum of Moving Image.
Coldcut’s politics came to the fore again in 2001, when they released “Re:volution” to coincide with the British general election. Characterised by Matt Black as a “celebration/diss of UK politics and the 2001 election. An audivisual PARTY political broadcast cutting up your fave enemies over a steaming punk jungle (pungle?) stomper,” it led to a campaign involving a mayhem-packed double decker bus ride round Westminster in the company of Brighton’s Free Party and the Church of Bob. It also inspired American activists to ask Coldcut to become involved in a project for the 2004 US Presidential election. allowed people to download over 12gigabytes of footage from the last 40 years of US politics and then use them to create a cut-up over a Coldcut beat. The result was Coldcut v. TV Sheriff, “World Of Evil,” widely acclaimed and somehow regularly shown on MTV.
Alongside the headline-grabbing releases, there has been smaller, more grass-roots activity, too. was run from Coldcut’s Spacelab studio in London and viewed all over the world, pioneering what Black describes as “guerilla netcasting”. Special guests on the show ran from Radiohead to the Surveillance Camera Players. Coming from another angle, has focussed on educational activity. Matt is also heavily involved with which aims to make a 21st Century montage documentary in the spirit of “Sans Soleil” or “Baraka” using footage uploaded to the site by people all over the world.
And the art projects continue apace. Gridio (a collaboration between Coldcut and Headspace) is an “interactive responsive environment” originally commissioned by the Pompidou Centre in Paris which has toured all over Europe. Last year saw Coldcut produce a play in conjunction with renowned young author Hari Kunzru for BBC Radio 3 (incidentally, also called “Sound Mirrors”). A collaboration with the British Antarctic Survey (BAS) has led to the short film “Wavejammer”.
Running parallel to this, the remix and production work has continued apace. It is a tribute to Coldcut’s standing as well as the sheer diversity of their output that the last few years have seen them re-work the theme to Dr Who, the music of Herbie Hancock and the Trojan catalogue, that they returned to the South Bank’s Meltdown festival for a live audiovisual dub with Lee ‘Scratch’ Perry, Mad Professor and Headspace. That they have assembled a group of artists as diverse as Jon Spencer, Robert Owens, Saul Williams, Soweto Kinch and Roots Manuva to appear on their new record. That musically, they have continued to refine and develop both their skills and their style so that, after a twenty year career at the forefront they can honestly claim that this is their best, most complete album to date, utterly contemporary, as fresh as the day they started. Maybe they’ve remained masters by remaining unruly schoolchildren. Who knows? All that matters is that the masters are back.
Sound Mirrors
Journeys by DJ - 70 minutes of madness mix CD
Let Us Replay
Let Us Play
ColdKrushCuts - Mixed by Coldcut/DJ Food + DJ Krush
Everything Is Under Control Remixes
People Hold On Remixes
Walk A Mile In My Shoes
Mr Nichols
Walk A Mile (Henrik Schwarz Remixes)
True Skool
Everything Is Under Control (Solid Groove Dub)
Man In A Garage
Everything Is Under Control
More Beats & Pieces
Atomic Moog & Boot The System
All City (Jazid Magazine 7")
Autumn Leaves

Daedelus, the eccentric, electronic maestro of the Pacific coast returns with "Exquisite Corpse" his most complete and baffling record to date. One of LA's most daring new artists this young musical romantic weaves together a true "love-sound" that falls between honeyed melody and avant-electronics. Daedelus chops and splices disparate acoustic sources into incredible works of staggering resonance. Contrasting IDM styled cut-ups with childlike arrangements from the 30's and 40's, he has refined a style that has no imitators. Exactly the kind of music you’d expect from a scarily well-connected hip hop nut who happens to dress in Edwardian clothing and names himself after an Ancient Greek Legend.
The album title, as well as the idea, is taken from the old Surrealist game in which a group of random French crazies and intellectuals write down part of a sentence, fold the page and pass it on to the next - 'Consequences' without the consequences. Or if that doesn't make sense, how about this? "A kind of collective collage of words or images" ("Dada & Surrealist Art" by William S.Rubin).
And there's definitely a collective at work here, Daedelus' trademark musicality running up against a slather of maverick talent from the worlds of hip hop and beyond. The performances range from traditional (MF Doom, Sci from Scienz of Life) to poetic (Mike Ladd, CYNE, Laura Darling) to experimental (Prefuse 73, Hrishikesh Hirway of The One AM Radio, TTC, Jogger), but Daedelus moulds the seemingly disparate elements of sound with a single-minded vision.
With a body of work including releases through Mush, Plug Research, Hefty, Tigerbeat6, and Eastern Developments, Daedelus' rep is long since established. At last he has given us the record about which journalists can use the word "surreal" without being lazy. And for this alone we must all be thankful.
Denies The Day's Demise
Exquisite Corpse
The Weather
Rethinking The Weather
Impending Doom

DJ Food
Strictly Kev
The stalwart Ninja who stepped out of the shadows after years of steady DJing with Coldcut on numerous club gigs and their weekly radio show 'Solid Steel!' Kev met Matt Black at the 'Telepathic Fish' ambient parties of the early 90's, started designing artwork for Ninja Tune and paired up with PC to form the public 'face' of DJ Food on 4 decks in clubs around the world. After working on various Food and Coldcut related studio projects with PC (Recipe for Disaster, Journeys by DJ, ColdKrushCuts and the Blech mix compilations for Warp) he is preparing the next course...
Now working on the next DJ Food album himself, expect more of the same from the man who penned tracks like “Nevermore” and “The Riff”, among others, from the last album ‘Kaleidescope’, and is responsible for the incredible “Raiding the 20th Century – A History of the Cut-Up” mix (so popular it crashed boom selection’s server when posted on the premier bootleg site).
History lesson….
DJ Food has been many persons, of who we will come to in a moment. DJ FOOD is best described as Food for DJs, simple as that, just flip it around and it begins to mean something entirely different.
Originally produced by Coldcut the DJ Food project started in 1990 with the release of Jazz Brakes. Jazz Brakes Volume 3 being the label's most successful early album. Not only are they effective collections of breaks, loops and samples ideal for mixing, remixing and producing - but also fine collections of funky jazz & hip hop tunes, that cut it just as well on the discerning dancefloor as in the safety of your own home... Since the growth of the abstract hip hop scene recent years the Jazz Brakes albums have proved to be ahead of their time Jazz Brakes Volumes 4 & 5, co-created with DJ/producer PC, are collections of finely crafted tunes that transcend the breakbeat compilation format to stand as artist albums in their own right. These latter DJ Food albums have developed with shades of latin, dub, techno, ambient, tribal, african and jungle flavouring the funk. The October '95 album entitled 'A Recipe For Disaster' was a conscious break from the five Jazz Brakes volumes to form more of an identity as an artist, and a remix album of tracks from all 6 LPs 'Refried Food' was released Feb '96. A new Studio album is being prepared by PC and Strictly Kev in various top secret kitchens across London as you read this. They are collaborating with various guests on this including Bundy K. Brown (ex-Tortoise, Directions in Music, Pullman) and Ken Nordine (60's word jazz poet).
But who makes this food then? We know that Matt Black & Jonathan More (aka Coldcut) were responsible for starting the DJ FOOD series of Jazz Brakes back in the early 90's, and along the way they met Patrick Carpenter (PC) who was commonly misconstrued as the computer that they made the tracks on for a while. A loose collaborative team began to form as more like-minded people arrived at the party; Paul Brook, Paul Rabiger, Strictly Kev and Issac Elliston to name a few.
Whilst keeping their hand in as DJs, Matt & Jon couldn't and didn't want to DJ twice in one night under both aliases of Coldcut & Food so PC & Strictly stepped up to represent the Food club-wise. This was the score for some time, until PC became so busy with his involvement in the Cinematic Orchestra that he decided to depart to concentrate on that, leaving Strictly Kev to carry the mantle and really come into his own.
The Present Day
Kev now DJ’s out regularly, travelling all over the world and creating a stir wherever he plays! He is amazingly versatile, both in the variety of tunes and his skills on the decks, playing a mix of jazzy, funky breaks, bootlegs, hip hop and usually building the set to a drum & bass crescendo that has the crowd going nuts.
He has also becoming reknowned for his soundtrack performance to the Monkees’ insane surreal movie ‘Head’. An astonishing 90-minute three-deck real-time rampage through 60’s psychedelia, soundtracks, humour, military bands and other crazy tunes, he shows exactly how it should be done in terms of balance, timing and sheer accuracy of deck craftsmanship.
The man is a joy to watch and great fun to dance along to – look on ye mighty DJs and despair!
Solid Steel presents DJ Food & DK "Now, Listen!"
Refried Food
Recipe For Disaster
Jazz Brakes Vol.5
Jazz Brakes Vol.4
Jazz Brakes Vol.3
Jazz Brakes Vol.2
Jazz Brakes Vol. 1
Quadraplex EP
Dub Plates Of Food Vol.2
All City (Jazid Magazine 7")
Refried Food (Part 2)
Peace Parts 1 & 2

DJ Kentaro
"DJ Kentaro may be a turntablist - a world-beating turntablist, in fact, having taken the DMC World Championship title in 2002 - but that doesn't mean that only spotty geezers in puffas and baseball caps need to look out for him. Because hip hop and scratching represent merely one side of Kentaro's multi-faceted musical persona." - IDJ Magazine (UK / EU) 10/2003
“More than just a technical DJ, Kentaro is a performer, inciting the crowd into a frenzy while titillating the scratch fetishists. Starting with the Roots and winding up with Pharcyde, Wayne Marshall and Sizzla - with cut and juggle excursions through all the other artists from all over the world, Hip-hop, reggae, drumn' bass, house, electro and jungle -he slid easily to a second victory,” stated Blast Magazine.
On September 18th 2002, reigning DMC World 3rd place from 2001, DJ Kentaro (Kentaro Okamoto) re-tried for his 1st time World Champion title and claimed the title with the perfect score ever in DMC World history. Dedicating his winning 6 minute set to his consciousness "No walls between the music", DJ Kentaro finally took 2 gold Technics 1200's and a matching Technics DJ mixer to its home country.
Kentaro’s blend of hip-hop, breaks, drum & bass and turntablism is untouchable. His tours have included the largest 40 dayz North-Western Solo European/UK tour of himself - The No-Waller's asian tour 2002, as it was mentioned above - legendary tour with the Roots in Japan 2003, tour with Pharcyde in Japan2003, the Zamurai Japan tour 2004 w/ Hifana & Gagle from Tokyo and Sendai, Japan, and extensive dates worldwide... Jamaica, China, Taiwan, Hong Kong, Singapore, England, Scotland, Wales, Ireland and France. This, along with, extensive coverage in all most every hip-hop and dance music magazine and TV program available, (Check out the December 2002 cover of Blast Magazine, the October 2003 of IDJ Magazine, and the March 2004 of V-Magazine) has made Kentaro a worldwide hip-hop phenomenon.
Kentaro is a mad dexterous surgeon who slices and dices beats into a breathtaking sonic concoction in his Sendai laboratory and at events all over the world. When Kentaro is behind a set of 1200s and a mixer, he's on stage: sometimes he's shy, sometimes he's sassy, but I've never heard him be anything short of absolutely splendid.
Where some turntablists are content to fill their routines with the same ol' thang, Kentaro uses his awesome technique to move beyond the crab scratch and has catapulted drum 'n' bass and dance music into a realm that nobody has yet to explore. My Favorites Songs - Kentaro's first ever mix CD - stands as a testament to hispioneering vision of melding the mentality of a battler with the street smarts and savvy of the hip-hop elite.
Lauded for years by hip-hop aficionados, Kentaro has won the respect of Japan’s Hip Hop Best Artists (tied winner was Eminem from USA) which explains why revered Japanese labels like Endeavor Entertainment, W + Kennedy Tokyo Lab, Artimage and Jazzysport. Undiluted and Virus have presented him with exclusive tracks you won't be able to hear anywhere else. And let's not forget Kentaro's exclusive turntablist cut ups - three mind blowing pastiches that are all ahead of its time. Kentaro is moving at the speed of vox. Sleep on his skills and he's gonna leave you in the dust.
DJ Kentaro, number one DJ in the world, and it's just the beginning…
Solid Steel Present DJ Kentaro: On The Wheels Of Solid Steel

DJ Vadim
Links ... vadim.html
Hardest working man in show business? Trouper? Tireless? However you want to put it, be sure of one thing, when DJ Vadim first heard the phrase "Don’t sleep" he obviously took it literally.
Over the last decade few people can have put so much time and energy into the culture they love. Founder of Jazz Fudge in early 1995, A&R, producer, DJ, promoter, record collector, radio presenter, occasional painter, writer, and in-house producer/dj and cohort of Latin Grammy nominees, Spanish hip hop super group 7 Notas 7 Colorez, Vadim has certainly been keeping himself busy. And that’s before we even mention his DJing itself which has seen him perform in virtually every country in Europe(east and west), all over North America, Australia, New Zealand. Japan, Israel, Turkey, South America and South East Asia in just the last year. He has also performed with the likes of DJ Krush, Company Flow, The Roots, Pharcyde, Public Enemy, Beat Junkies, Dilated Peoples, Kraftwerk, Ed Rush, Morcheeba and Paul Weller as well as at events like Glastonbury and the Moscow Street Ball festival (to over 40,000 people!). To describe the man as an internationalist almost seems to sell him short.
In 1992, Vadim Peare bought a sampler and started working on the music that would become "Abstract Hallucinating Gases" and "Headz Ain't Ready" (both released on his own label, Jazz Fudge). Later in the year he signed to Ninja Tune and began work on his debut LP, "USSR Repertoire". From these early recordings came a remix LP, "USSR
Reconstruction," featuring DJ Krush, Kid Koala, Mark B and Silent Poets, plus various
12"s both for Ninja Tune and Jazz Fudge, and a mixtape and CD with DJ Primecuts
(International Turntablist Federation world champion ‘99 and Scratch Pervert). In 1999 there was the abstract funk collaboration LP, "The Isolationist," produced by Vadim, scratched by DJ Primecuts and vocalled by New York avant-rappers Antipop Consortium (now signed to Warp). Relentless international touring followed with Swollen Members, then Company Flow, then Jazz Fudge, all of which led to the purchase of yet more obscure and dusty vinyls to add to an already burgeoning collection.
This all culminated in his critically-acclaimed last album, "USSR: Life From The Other Side" (Ninja Tune 1999). The record featured Co Flow, the Scratch Perverts, Iriscience(from Dilated Peoples), Blade and many others and caused quite a storm in USA with the track "Your Revolution," featuring Sarah Jones. This song was banned by the FCC (USA radio regulators) for explicit and provocative lyrics, despite Jones actually satirising the attitudes and words of the mainstream rap and r&b that could be heard pumping out of the radio every day.
To promote the record, Vadim put together a live group - The Russian Percussion - consisting of Mr Thing (turntables), Killer Kela (beat box), Blu rum 13 (mc), John Ellis (keyboards) and himself. They notched up a mere 200 shows in about 24 countries including most of Europe and North America.
Feeling tired yet? Hang on in there. Vadim has also presented radio shows for the BBC, including the Sony Award-nominated programme "Around The World In Eight Relays'.
He has toured with Sarah Jones, Killer Kela and as support and collaborator for Super Furry Animals. Oh, and he went to Latin America with the aformentioned 7 Notas 7
Colores and, and, and….
We’ll stop now. Our guess is that the average human mind would actually struggle to take in everything that DJ Vadim has done in the last ten years, let alone do it. There really is only one way to revive yourself now – reach forward, slip "USSR – The Art Of Listening" into your cd player and soak it all up. It is, after all, where he gets his energy from. And where he’s putting it, too…
Lettuce Propelled Rockets
Listening Instrumentals
USSR: The Art of Listening
USSR: Instrumentals To Life
USSR: Life From The Other Side
USSR Reconstruction
USSR Repetoire
Till Sun's In Your Eyes/Headline News
Edie Brikell feat Slug
It's On
Up to Jah
Combustible feat. Gift of the Gab
Your Revolution/The Higher Standard
It's Obvious/English Breakfast
It's Obvious/Terrorist
Conquest Of The Irrational EP
Aural Prostitution
Non Lateral Hypothesis

DJ, music maker, radio producer and presenter, Darren Knott (alias DK) is a key component in the Ninja Tune live shows and one of the main driving forces behind the legendary 'Solid Steel' radio show.
In 2001 he released the 'Solid Steel presents' Mix CD on Ninja Tune alongside DJ Food and toured on 4 decks with Strictly Kev (DJ Food) throughout the UK and the World. The Solid Steel mix CD was critically acclaimed achieving compilation of the year in Q, DJ Magazine, Time Out and Seven plus compilation of the month in Jockey Slut and Dazed & Confused.
Previous tours also include the well received US Tour with Coldcut and a European Tour with fellow Ninja artists Kid Koala and PC (DJ Food). DK has teamed up with Ninja Tune on various gigs, DJing both nationally and internationally, from spinning vinyl in a steaming hot turkish bath in Hungary, atop a cold Swiss mountain and in amongst an unexpected riot in Greece (opening up for the Prodigy), to name but a few.
The London gigs have included all the regular Ninja club nights including the famous Blue Note night 'Stealth' and 'Kungfusion' at the 333 . DK was also a regular at the recent Xen Solid Steel nights at Cargo.
Regular presenter and producer on Coldcut's infamous Solid Steel Show, formerly on London's Kiss FM Radio and BBC London he has been instrumental in syndicating the show to over 30 radio stations worldwide. Along with Coldcut and DJ Food, DK continues to broadcast possibly the best mix show on the airwaves.
Studio work has included the track 'Arcane' by Arc on the Xen Cuts compilation and remixing 'Timber' for Coldcut, a remix for The Cinematic Orchestra and various releases on independent labels.
A frequent visitor to the New York music scene, DK rates this as being a great influence along with a grounding in London's club history. Extensive travel and committed 'diggin in the crates' enabled a large and diverse collection of records to be amassed from different countries, which is reflected in his selection of tunes. His Djing style is an eclectic mix from Jazz induced beats to Drum & Bass, Hip Hop, funky breaks and beyond, trying to avoid a night of just one style of music and leaving room for both the latest tunes and classic rarities.

DSP: Dynamic Syncopation Productions Biography
After meeting on college radio in the late 80’s, Jonny Cuba & the Loop Professor realised they had similar tastes in hip-hop, films and all things funky. They began their induction into London’s club scene with regular trips ‘up North’ to Norman Jay's infamous 'Family Funktion' in Camden Town which inspired them to start, along with some friends, the 3 year run of
'Steps Ahead' @ the Gardening Club in Covent Garden. It was here they began to develop a mix of Hip-Hop, Funk & Jazz which is at the root of the DSP sound.
After both surviving a serious dose of ‘higher’ education & world travel they reconvened in London to produce the soundtrack inspired ‘Classified Documents EP’, released by NinjaTune in 1998. Their first LP DYNAMISM (Ninjatune 1999) got rave reviews for its mix of ‘true-school’ hip-hop & heavy instrumental beats. Since then they have toured extensively in Europe alongside the Herbaliser, DJ Food, Kid Koala, DJ Vadim and Nightmares On Wax – another highlight was DJing at Mohammed Ali’s 60th birthday. They’ve also been working hard in the studio, travelling back and forth between New York and London for recording sessions.
Working on the principle that a dope MC is a dope MC, no matter where they’re from. DSP continue in their mission to make beats that inspire talent from New York to Norwich, Atlanta to Brixton. Putting hip-hop’s household names alongside unsigned hype from both sides of the Atlantic.
The Loop Professor has also been resident at Rob Da Bank’s original ‘Sunday Best’ on and off for the last 4 years, as well as touring Europe with Swiss saxophonist Daniel Kuffer’s ‘Stereodogs’ band - performing at this years North Sea Jazz Festival in Cape Town, South Africa. Jonny Cuba has co-produced material for The Herbaliser - most notably 'A Mother (For Your Mind)','Another Mother' and the ‘Cuban remix’ of 'The Blend'. He also collaborates with Ollie Teeba as production team ‘The Process’.
DSP have had music featured on TV and in video games; EA’s Knockout Kings 2001, NBA Street & SEGA Extreme Sports.
Heavy beats & tight, quotable rhymes are what DSP is all about
In the Red
Trife-a-saurus Rex

Dwight Trible & The Life Force Trio
Dwight Trible is a legend on the quiet, a retrospective waiting to happen. Not a newcomer to the music scene, over a remarkable career, this Los Angeles native has worked with everyone from Bobby Hutcherson and Charles Lloyd to Harry Belafonte. He is the vocalist with the Pharaoh Sanders Quartet and is also the vocal director for the Horace Tapscott Pan Afrikan Peoples Arkestra, a Los Angeles institution with a history stretching back forty years and an active engagement in the city’s Black community since the Watts Uprising.
Like his mentors, Dwight is not content to use his music to just entertain people, although he is a dynamic performer. He uses his music to bring people together, to bridge the gap between the races, and to heal the human heart. He has received numerous awards for humanitarian efforts.
A couple of years ago Carlos Niño (best known over here as one half of Ammoncontact) invited Trible onto his radio show and from there a friendship and musical journey began. As Trible puts it, “you have to be careful what you say to Carlos, because he makes it happen!”. A chance comment about making some kind if hip hop record set Niño off on the journey which led to “Love Is The Answer”. Which will be released on Ninja Tune on July 11th 2005. A record which is unfashionably lacking in cynicism, one which truly believes that “love is the answer” to the world’s ills. If the time, effort and beauty which result from these inter-generational collaborations are anything to go by, the great man might even be right...
Living Water
Love Is The Answer

"I feel like I'm 21 all over again," says Fink exuding enough wide-eyed enthusiasm to back up his claim. This former purveyor of cool, laidback Ninja Tune beats has done what very few recording artists would dare to do - he has changed. Completely. "I've DJed the world over, remixed for countless acts, and produced inspirational artists (including Martin Taylor, Amy Winehouse, Michael Pitt, and Robert Belfour), but what I've achieved with this album has wiped the hard-drive off anything else! I'm completely consumed by it and nothing else seems relevant."
What Fink has achieved is to have been reincarnated as Ninja Tune's first ever guitar-toting singer-songwriter. Immersed in a very personal labour of lov

06 Oct 2006, 13:11
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Parte 2

Flanger is:
-Atom Heart playing Rhodes, Motion Bass/ Programming
-Burnt Friedman playing Gretsch Drums, Percussion/ Programming
The Flanger project was founded in 1998 by Uwe Schmidt (aka Atom Heart)and Bernd Friedmann (aka Burnt Friedman),who have both been active in the music business since the early 1990s.The two musicians
met up to program their first album "Templates" in Santiago de Chile in 1998.Their musical goal was to generate their own vision of non-repetitive,organic and extremely complex music that is far removed from the well-trodden paths of techno and other established styles of so-called contemporary music. "Templates" was released the following year on Ntone/Ninja Tune,together with separate 12-inch pressings of several tracks. The success of this debut album convinced Flanger to do a second LP,which was recorded in Santiago de Chile, in March 1999. Entitled "Midnight Sound", this was released on Ntone/Ninja Tune November 2000. The release of "Midnight Sound"prompted Uwe Schmidt and Bernd Friedmann, who are renowned for their very special shows, to consider the idea of live Flanger presentations.
Although their Fall 2001 Tour was recently postponed, they are still planning a series of live appearances around the world.
Outer Space/Inner Space
Midnight Sound
Inner Spacesuit
Templates EP2
Templates EP1

My name is Andrew Broder. I am from Minneapolis, Minnesota. I have a project called Fog which is on Ninja Tune.
I have made music my entire life, it is the only thing which I really feel that I am really good at. I play turntables, piano, guitar, words, drums, drum machines, knobs, bells, whistles, bass, trumpet, kitchen sink, chopsticks, feather duster, chewing gum not all necessarily well or in that order of preference.
My music is often autobiographical but hopefully universal. Personal, but hopefully not too self-centered. My favorite color is red, though these days I have come to appreciate the equal importance of blue and its role in my life.
I am a Leo, so I guess this means I need lots of attention and praise but I am also very loving and loyal. You could say, however, that I am still "on the fence" as it were on the subject of astrology.
When Fog plays live, I have an outstanding band that is my primary musical inspiration. They are: Mark Erickson, Jeremy Ylvisaker, Martin Dosh and Mike Lewis.
I am 24 years old. I have a girlfriend named Julie who owns a record store, and I use records that I get there to make music with. I am in love with her. I have friends called Anticon, they are from Oakland and they inspire me in life and in art. I enjoy the music of Anticon, Albert Ayler, Idaho, Charles Mingus, Eric B and Rakim, Stars of the Lid, Scientist, Centipede, Claude Debussy and many others. I enjoy music.
I enjoy coffee, though I think I gotta cut down on that shit.
Lots of times I am embarrassed to be an American.
These days I try to see music as not only a means of escape, but also a means of communication, both overt and psychic. I try to push boundaries without letting that make me cynical. That's all I got for now.
Ether Teeth
What-a-Day-Day (IMPORT)
Check Fraud (US version)
Check Fraud

Funki Porcini
Funki Porcini's music is the fruit of a well-travelled life.
Porcini left England at 19 to escape from a squat in Kings Cross being savaged by violent Scots stranded in London after a football game.
Arriving in Los Angeles with three hundred dollars that disappeared in a week on cocktails and hamburgers he was forced into menial labour, stacking shelves in a Westwood department store before earning enough money to hitch-hike to San Francisco. Here he bought a saxophone and moved into the Residents old apartment where Snakefinger was still living. San Fran was alive with a post punk arty fart scene of radical experimentation and Porcini started his weird shit days of music. Although there were some true luminaries on the scene such as Mark Pauline and his Survival Research Laboratories, Monte Cazzaza, Factrix and a host of underground bands, nothing of what Porcini did in this period was, or ever shall be released, owing to the fact that on the whole it was ghastly to listen to.
Leaving San Francisco for New York with new found Australian friends SPK he eventually came back to England and hated it. After a brief trial of Berlin he settled in Italy and remained there for 10 years making music for film and television before getting back to music for music's sake.
After establishing connections with Ninja Tune from Italy Porcini eventually came back to the mother ship and immersed himself in his studio 'The Uterus Goldmine' to produce the first album 'Hed Phone Sex,' a heady record openly made more for the pillows than for the dance floor. This was followed by Love Pussycats and Carwrecks, Let’s See What Carmen Can Do, The Ultimately Empty Million Pounds and his latest work Fast Asleep, where Porcini together with Team Alcohol aka Rupert Small have produced stunning visual interpretations of the music which is released on DVD sold in conjunction with the CD.
Fast Asleep
The Ultimately Empty Million Pounds
Love, Pussycats & Carwrecks
Hed Phone Sex
The Great Drive By
Rockit Soul
Lets See What Carmen Can Do
Carwreck EP
All City (Jazid Magazine 7")
Suck Acid, Pearl & Dean/Hyde Park
King Ashabanapal
Its A Long Road

Hexstatic are Stuart Warren Hill and Robin Brunson, and together they have been consistently breaking new ground in Audio and Visual entertainment since 1995.
Hexstatic started experimenting with video at the first Big Chill festival and then went on to become resident VJ’s at Ninjatune’s famous Stealth night and a host of other UK clubs.
They collaborated with Coldcut and Greenpeace for the Natural Rhythms Trilogy, which included the award winning AV single Timber.
REWIND Hexstatic released the UK's first completely AV album entitled Rewind in August 2000.
PAST-PRESENT-FUTURE Past work includes collaboration with David Byrne at Lisbon Expo and the first live AV show at the spectacular Guggenheim Museum in Bilbao. They are regular contributors to new media festivals such as onedotzero and have produced work for the BBC and Channel 4 amongst others.
Hexstatic have been instrumental in developing the Pioneer DVJ-X1 professional DVD player, being the first to demo at Sonar 2004.
SOLID STEEL In 2002 Hexstatic recorded Listen and Learn,.. the second and widely acclaimed instalment in Ninjatune’s Solid Steel mix CD series.
Oct 2004 sees the release of Master View, the second AV album from Hexstatic. This lush beats and electro album comes as a groundbreaking CD\DVD and features synchronised videos for every track and extras including 3D anaglyph versions of selected videos. Albums
Master View
Solid Steel Presents Hexstatic
Distorted Minds
Telemetron (solid steel promo)

Hint is one man, alone, in his portakabin in the deepest Sussex countryside, looking out the window, and looking deep inside, to make some very beautiful music.
Otherwise known as Jonathan James, Hint’s musical tastes have gone through various transformations over his brief 23 years on the planet. From full on drum and bass to hip hop, soul to funk, and electronica to post rock, it all went in one ear and out the other as our boy finished his degree at Leicester University, and went straight, as all graduates worth their salt do, into working in a record shop.
Coming to our attention via what is, in the Leicester underground, still known as ‘the best mixtape ever’, Hint began to rock Leicester’s minuscule nitespots, whilst secretly harbouring desires to own an MPC. Through a mixture of blood, sweat, and teas, the sampler was saved for and purchased, and was swiftly joined by Hint’s hitherto hidden musical talents on the keyboard, guitar, and bass.
After Hint and cynical hack Joe90 spent many a DJ car journey to Leeds listening to his first efforts, whereupon 90, after being practically reduced to tears by the ramshackle joy of ruralbeat, told him he’d be famous one day, Hint was introduced to the newly formed Leicester label Deep Water Recordings.
‘Count Your Blessings’, the standout track on Deep Water’s inaugral various artists EP, appeared, to be swiftly followed by ‘The Beau Selector EP’, which garnered eclectic single of month in Ministry, and a Peel Session. Imagine that.
At this point the finely tuned ears of Bristol’s Hombre Recording’s pricked up, as Hint literally gave up the day job, moved back to Sussex, and set up his studio in the portakabin to make some lovely noise.
Unable to resist the beguiling draw of Hint’s new found ‘rural beat’, Hombre offered him a new home, and its there that he now musically resides. With debut 10" ‘The Look Up’, and follow up single ‘Count Your Blessings’ now out his debut album is completed in it’s full laidback glory, due for release early 2003
Portakabin Fever
Count Your Blessings (remixes)
Quite Spectacular
You Little Trooper
Count Your Blessings

Homelife is not a definite entity. It's hard to pin down their sound, how many people are in the band or even which band they are in! Nearly every Homelife track has a different line up. Less of a collective, Homelife is more of a pool of musicians whose talents are marshalled by reluctant foreman Paddy Steer.
There's a do-it-yourself ethos evident in Homelife. All material is recorded at Paddy's house with musicians doing their bit in small groups. With 15 to 16 contributor's on the most recent album, 'Cho Cho' the piecemeal approach makes sense and Paddy admits that it wouldn't be possible for the whole band to be in the studio at the same time. "It's not like the Monkees where we all in the room together. Ten years ago Homelife wouldn't have been practical but advances in technology have made a project like this possible," he states. Whilst the majority of the co-operative are Manchester based, male vocalist Faron Brooks lives on Vancouver Island, Canada and key member Simon King is based in London. Technology again lowers the height of these creative hurdles with Paddy even seeing positive aspects to Faron's displacement. "It means we get more editorial control over his vocals," he deadpans before likening the arrangement to that Portishead have with their vocalist.
Homelife revolves around the nucleus of the band is Paddy Steer (bass), Tony Burnside and Simon King (both guitar). They write and produce most of the songs although Paddy is quick to point out that other individuals contribute in an organic composition process. Percussion is provided by combinations of Icarus Wilson Wright, Richard Harrison, James Ford and Jason Self. In the string section, Rosie Lowdell plays violin and Semay Wu the cello; Seaming To occupying the role chanteuse. Seaming shares her given name - the Chinese for 'sea' - with Semay but chooses a different spelling. Male vocals are supplied by Faron Brooks. As with all things Homelife, it isn't as simple as that. Most of the band are multi-instrumental and there's a corresponding level of promiscuity. Half the band play in the related Toolshed project, fronted by 808 State's Graham Massey, and he returns the favour by contributing clarinet and saxophone.
Paddy cites punk as his entry in music. The first band he saw live were The Clash but was too young to get into see the Dead Kennedy's. He went to school with Faron, who began his musical career by penning the theme tune to kid's TV programme 'Why Don't You'. The pair formed a band playing Beatles and Elvis covers. Faron's family emigrated to Canada. In 1985 Paddy joined Yargo where he met Tony Burnside. He describes their music as 'sparse, dubby, funky'. A deal with London resulted in three albums 'Bodybeat', 'Communicate' and the live album 'Prickly But Sweet'. Despite success and some renowned concerts in France, the band broke up in 1990. When asked what Yargo taught him Paddy replies "Pay your tax before you're skint."
At the same time as Yargo, Paddy was involved in Graham Massey's first band, Biting Tongues, on a part-time basis He bowed out at the same time as Yargo dissolved. He went on to session for 'obscure French artists' and subsequently to score films with Simon King ( a fan of Morricone and John Barry as well as punk) for student shorts at the London College Of Printing. In total Paddy has thirteen soundtracks.
Justin Robertson, who remixed a Yargo track but never met the band at the time, asked Paddy to join Lionrock in 1996 after the first album. It's an on-going open ended, if dormant, arrangemnt.
With a backlog of ideas Paddy, Tony and Simon formed Homelife in 1997. A suprise reunion with Faron followed: "I came home one day three years ago and did 1471 and it was him. His family had moved back. With a voice like his I would have thought that he would have made some records but he hadn't. I thought we'd better do something about it and asked him to sing for us."
The first album, eponymously titled 'Homelife' was released on their own Homelife imprint without any major label promotion. The wilfully low key strategy elicited a correspndingly low key response that doesn't do the record justice. The 1999 follow up, 'Cho Cho' was funded Paddy's grandmother's inheritance and tracked the same groove. Clued up music lovers kept Homelife's loose melodies to themselves. Despite Paddy's best efforts to avoid detection, record labels began to sniff around; not least because of an accomplished live appearance at Manchester's Band On The Wall. Trying to concentrate on the music without having to keep one eye on A&R considerations Homelife value the musical freedom that doing it themselves affords. There's a certain looseness that Homelife offers.The rest will sort itself out.
Guru Man Hubcap lady
Cho Cho
Forkbeard Fantasy's Frankenstein (OST)
Flying Wonders
Flying Wonders/Wobbly Jack
Too Fast

Jaga Jazzist
Jaga Jazzist has become something of a musical phenomenon in Norway since they started 9 years ago. Not only is this 10 piece instrumental band regarded as one of the most exciting and innovative in Norway, the members are all involved in other musical projects and have in one way or another contributed to almost every significant recording to come out of that part of the world in the last few years. It has been this strong involvement with different projects, and different musical styles and sounds which is the key to the unique sound of Jaga Jazzist. With no boundaries and an arsenal that includes trumpets, trombone, electric guitar, bass, tuba, two bass clarinets, Fender Rhodes, vibraphone and a rack of electronics, Jaga Jazzist create timeless music. Melodic, hypnotizing, delicate and subtle.
Jaga Jazzist started out in Tonsberg (a small town outside Oslo) in 1994 at which time Lars Horntveth (the main songwriter in Jaga) was only 14 years old! In 2001 they released their debut album “A Livingroom Hush” on Warner in Scandinavia to massive critical acclaim and great sales (the album sold over 15000 copies in Norway alone..). The band then signed a deal for the rest of the world through Oslo`s Smalltown Supersound. Throughout 2002 the band shocked fans and critics alike with their blistering live shows and the buzz resulted in sold out dates all over Europe and the band soon came to the attention of Ninja Tune who did a license/collaboration deal with Smalltown Supersound.
What We Must
The Stix
A Living Room Hush

Kid Koala
In 1974, Kid Koala a.k.a Eric San was born in Vancouver, Canada. By the time he was twelve years old, and after many years of classical piano lessons, the young Eric discovered an increasingly popular sound that he would eventually make all his own. After making his first "scratch" on his sister’s record player, he began saving his money from paper routes to buy his first turntable set-up.By the early 1990’s, Eric was living in Montreal where he had moved to study early childhood education at McGill University. While djing in clubs, he began to attract the public’s attention. In 1995, when Jon More (co-owner of UK record label Ninja Tune, and half of Coldcut) came to visit Montreal, Eric's innovative and humourous mix tape "Scratchcratchratchatch" ended up playing on the car stereo. Shortly thereafter, Eric, now Kid Koala, became Ninja Tune’s first North American signing.
Following the signing, Kid Koala released a string of remixes and began touring North America with Ninja Tune artists such as Coldcut, DJ Food and DJ Vadim. But it was not long before his skill, innovation, and performance style led him to attract attention from those outside the club community. In 1998, he received an invitation to join
Money Mark’s band, and then went on the road to open for the Beastie Boys on their "Hello Nasty" world tour.
In February of 2000, Ninja Tune released Kid Koala’s debut album "Carpal Tunnel Syndrome". The album received great praise and was featured in the international press for having defied expectation. The album was accompanied by both a video game and 32-page comic illustrated by Kid Koala himself. A tour featuring 6 turntables and live musicians soon followed and took the young artist throughout North America and Europe.
After the release of his first album on Ninja Tune, Kid Koala continued to tour extensively as a member of groups such as Deltron 3030, Lovage, Bullfrog and also as the opening act for international recording artists Radiohead.
But while he was on the road, new projects were brewing. Kid Koala continued to keep himself busy on his downtime with the help of pencil and paper. Many sketch books later, his first book Nufonia Must Fall was published in March of 2003 by ECW Press. This 350-page illustrated love story about an out-of-work robot and a workaholic girl was accompanied by a ‘soundtrack’ of short record of original, experimental piano-based compositions. The original music and his characters set the stage for a North American tour of intimate, sit-down venues, during which Kid Koala lay his fingers down not only on the turntables, but on the wurlitzer- and on the remote control of an old slide projector.
Kid Koala’s second full-length album on Ninja Tune "Some of My Best Friends are DJs" will be released in October 2003. It is an album (with a 50-page book) that clearly shows the evolution of a young artist, expanding on musical themes from Carpal Tunnel Syndrome as well as introducing entirely new musical concepts, and keeping in the aesthetic of Nufonia Must Fall. This album will be supported by tours in North America, Europe and Japan, and will incorporate music, animation and comedy into one complete cabaret performance.
Your Mom's Favorite DJ
Live from the Short Attention Span Audio Theatre Tour
Some Of My Best Friends Are DJ's
Carpal Tunnel Syndrome
Basin Street Blues 7"
Emperors Main Course In Cantonese

Hailing from opposite sides of the Mersey pond, Loka’s music provides a soundtrack for a world where ambiguous morality and perverted desire fraternize with an uneasy thoughtful calm. By turns seductive, sleazy, unsettling and evocative, Loka’s multi influenced aural excursions tell tales aplenty, but not necessarily with a happy ending.

After early encounters highlighted a mutual passion for soundtrack scores, electronica and late sixties improvisation, Karl Webb and Mark Kyriacou immediately set about working on material that would form the basis of their forthcoming album. Recorded at
their infamous river side studio ‘The Bugger Hut,’ with Eamon Ellams in the percussion seat, the fruits of these sessions gave birth to Loka’s first outing for the label ‘My Life’s In These Bottles’ which was included on Ninja’s ‘Xen Cuts’ compilation in 2000.
Fire Shepherds

Mr. Scruff
The event that first sparked my curiosity about music was in the early 1980’s when, as a young 2 Tone fan, I discovered a stack of my father’s original Blue Beat 7”s, including several Prince Buster songs that had been covered by my then favourite band, Madness. I suddenly realised that the new music I had been listening to had roots that reached far back, and this knowledge inspired me to explore the wider musical world which had just been revealed to me.
My first encounter with mixing was as a 12 year old in late 1984, when a friend of mine played me some of his uncle’s electro records, notably the Streetsounds LP “Crucial Electro Volume 2”. At first, I assumed that the reason for there being no gaps between the songs was to fit more on the vinyl-it did not occur to me that the mixing was a creative part of the presentation, and had been carefully thought out utilising the experience and skills of a DJ.
Fortunately, further listens revealed the sophistication of the DJ in question, Herbie Laidley from London’s Mastermind crew. Soon after I was constructing my own crude pause-button mixtapes, inspired by the Electro compilations and various radio shows on stations such as Piccadilly, Radio Lancashire & Southside.
Throughout the 1980’s, these shows exposed me to a wide range of dance music, which at the time was a blanket term to cover anything from electro and hip hop to soul, reggae and early house music. Back then there were far fewer records being released each week, so DJs had to be versatile and play across the board.
As an enthusiastic young music fiend in Stockport, these stations were a lifeline to quality new releases, and exposed me to a lot of older music that I had missed. Little by little I was building a collection fuelled by this knowledge, all the while improving my DJ skills. By 1987 I was proficient at turntable mixing and editing, although I was still using primitive home hi fi gear. In the summer of 1988 I had my first mix played on Waxmaster’s show on the Manchester pirate station WBLS.
Fuelled by this exposure, I took a part time job at Kwik Save and ploughed all my earnings into vinyl. By this time I had a good knowledge of electro, hip hop, house, & 80’s soul, and was busy expanding my knowledge of blues, disco, funk, soul, reggae, jazz, african and latin music. More pause-button mix tapes followed, as did demo tapes of my own early productions. My first break came in 1994, when I met Barney Doodlebug, a DJ/Doodler who was originally from Bristol, and who now runs the international Doodlebug events. He gave me my first Manchester gig, in Dry bar on a Sunday night, and he also passed a demo tape of mine to local label Rob’s Records, which resulted in them releasing my first 12” single. While this was happening, I gained regular bar gigs, as well as a short stint at Manumission alongside fellow Stockport lad Treva Whateva. Following on from this, I became a frequent guest at Headfunk,
alongside residents Chubby Grooves & Tom Simba (who went on to form Groove Armada with Andy Cato). This night mutated into Eardrum, a DJ/jam night that I was resident at alongside Chubby, Mark One and Andy Votel. Other Manchester residencies included One Tree Island with Stefano, Guy Morley, Jah Conguero and Funk Boutique; and Dubism, with Guy Morley and Dom from Blood and Fire.
On the recording side, I released further singles for Rob’s Records subsidiary Pleasure, as well as sides for Echo Drop, Grand Central & Cup of Tea. My work for Grand Central with Mark Rae inspired some 4 deck club performances, including friendly ‘battles’ with DJ Food, which introduced me to the Ninja Tune fold. My first remix was a DJ Food megamix for their ‘Refried Food’ box set in 1996.
The release of more of my productions resulted in increased offers for DJ gigs. As well as playing regularly at the Electric Chair & Fat City nights in Manchester, and with Tru Thoughts in Brighton, I accepted a four year residency at Off-Centre in London, as well as guest spots around the country.
Some of my first DJ gigs abroad were with Grand Central in the mid to late 1990’s, and following my signing to Ninja Tune in 1999, I did several European tours with the likes of Roots Manuva, The Herbaliser, Dynamic Syncopation & Mixmaster Morris. The release of my Ninja album ‘Keep it Unreal’ also kick started my Manchester club night of the same name, borne of a desire to play exactly what I wanted, rather than having to fit in with the music policies of other club nights. After a short stint at Planet K, the night moved to the Music Box, where it remains to this day. The success of this night inspired me to take the idea on tour, so that instead of turning up with my records and playing the standard 2 hour guest DJ slot, I would recreate ‘Keep it Unreal’ in different venues, and play for the whole night. A similar situation occurred in Brighton, where after 7 years of regular gigs with Tru Thoughts’ Robert Luis, we started my monthly Etch residency at the Concorde 2 in 2001.
Another logical step for me was radio. It was such a vital part of my own musical education that I jumped at the opportunity to guest on shows such as First Priority’s late night function on Kiss 102 in the mid 1990’s, as well as the many RSL stations that had one month licences. It was on these that I joined forces with Treva Whateva to present the ‘Hot Pot’ show. The show then progressed to the national Student Broadcast Network for a few years, and then onto Manchester’s Key 103 in 2002 for an 18 month run. We are currently broadcasting on Brighton’s Juice 107.2.
Mrs Cruff (re-issue)
Mr Scruff Presents "Keep It Solid Steel"
Trouser Jazz
Keep It Unreal
Chicken In A Box-repress
Sweetsmoke Remixes
Get A Move On/Ug
Get A Move On
Chipmunk/Fish/Happy Band

One Self
If you think a story that starts off with an American, a Russian and a Swedish-born Chilean/Brazilian ought to end up with a terrible punch line, then you've not heard the one about the multi-national hip hop trio Onself. Their tale might seem unlikely, but their music is definitely no joke.
The group – DJ Vadim and MCs Blu Rum13, a New York native who's spent time in Canada, and Yarah Bravo, whose mother came from Chile, father from Brazil, and was born and raised in Sweden – came together on the road, as Vadim, the celebrated London-raised, St Petersburg-born production visionary, was touring under the experimental banner of The Russian Percussion.
"In 2003 we did two humungous North American tours," he explains. "The first half was Yarah, me and DJ First Rate, and on one of the shows we were in Montreal, and Blu Rum opened up for us with his band Groundwerx. When we came back for the second leg of the US tour in the autumn, another 50 shows, Yarah couldn't do it so Blu Rum became the front man of the collective."
Realising both vocalists had complimentary but contrasting styles, Vadim, Yarah and Blu Rum began discussing a dedicated collaboration. Although his solo albums have tended to feature numerous vocalists, Vadim had yearned to work in depth with a core group of no more than two MCs, preferably a pair whose deliveries and sensibilities would both mesh and spark. Through their natural evolution on the road, Onself became that group, and as the chemistry between voices, concepts and beats intensified, lyrical ideas began to take shape, giving the record an unplanned but hardly unexpected thematic consistency. "As writers, as lyricists, we trust each other," Blu Rum says of Yarah. "I know his music, I know how he writes, and I know what kind of stuff he writes about," Yarah says of her rhyming compatriot.
"It's really easy to be in this group," the Washington DC-resident Blu Rum chuckles, "despite the geography."
For his part, Vadim is convinced One Self couldn't have happened had he not made the move in 2003 from leafy suburbia to the inner city, and built the studio where the One Self album, Children of Possibility, was recorded.
"I've been much more inspired since moving to East Ham," he explains. "It's such a cultural hot-pot that it makes sense that I'd put it into the music somehow. There's sitars and the whole Indian thing, but also there's African sounds, flamenco guitar, Shakuhachi flute – it's a real blend of all the sounds and the people of the area we live in." The effect is startling; a blend of the sort of carefree, trend-defying production Vadim has made his name with, yet lent a new immediacy and clarity – perhaps because this may be the first time he has known precisely who will be supplying the vocals his music envelops. Blu Rum believes this is Vadim to a tee, but that "the chaos is a little more controlled".
Echoing Vadim's own hope that listeners will hear the record first and foremost as "a hip hop album, but also a very musical album", Yarah believes One Self transcend hip hop's parochial preoccupations and emphasise its global reach.
"A lot of people want to represent an area or a place," she explains. "But from us, you don't really get that, because we're from so many different backgrounds that we kind of represent everything."

"We chose the album title," Vadim concludes, "because we wanted to talk about how children are so open to different things: they're not racist, they don't have prejudices, they're always trying to discover new things. And we wanted to go back, musically, to a space where we can discover things and create music. We're having fun, really; it's enjoyable. It's got a message, but that message isn't rammed down your throat. It's hip hop, but it's more than that."
Children Of Possibility Instrumentals
Chidren Of Possibility
Blue Bird
Be Your Own
Ask Adrian Josey, sometime MC and shock-haired front-man for the Pest experience, what the group is all about and he replies intuitively: “it’s the unification of different styles in one sound.” , which works as both a description of the music and also the five members of the band.
The music first: Pest mix up jazz, hip hop, funk, rock, techno and UK garage into a completely unique blend which is instantly identifiable as them. They are a mixture of scarily high grade musicianship and punk ethics, smooth and raucous all at the same time, both funny and dark, stooped ‘avin’ it and cerebral noodlehead, all without falling apart or lapsing into incoherence.
And this music is based on the strange mixture of characters that make up the Pest collective. Matt Chandler received a highly sought-after scholarship from Gibson Guitars whilst at Liverpool Institute of Performing Arts. Wayne Urquhart is a classical cello player who has performed with Roots Manuva and Kosheen and produced UK garage for Pure Silk. Ben Mallott is a keyboard player and a quirky techno dj with an upcoming release on Noodles Discotheque. Tom Marriott plays trombone, often performing with the Bollywood Brass Band. Josey (aka Pasta) has DJed hip hop and funk all over the capital for more years than he should have, and is a unique stylist on the microphone.
Matt and Tom grew up together in Matlock, the pair heading in different directions to study music, Matt going north to Liverpool, Tom heading to London. It was here that the latter met Wayne, an alarmingly talented cellist and soul head, but also Pasta and Ben, the last two in the rather less rarified atmosphere of a club - a messy first encounter involving a gigantic quantity of disco cookies. Indeed, it was fairly central to the band’s genesis, playing a leading part in their many clubbing forays and their late night music-making and conversations about what Pest would be. Their first gigs found the whole band chemically fuelled and with their reputation as caners with technique being quickly assured, they began playing parties wherever their unique brand of punk-funk was required.
Off the back of a couple of low key white labels, they were signed to Ninja Tune and quickly produced single “Slap On Tap” (a Mr Scruff favourite) followed by their first album, “Necessary Measures,” - described by NME as “crazy shit… all bright lights and rampant futurism. Ace”. They headed out on the road with what Pasta describes as a “strung out and brassed up” version of the album which got them noticed right across the UK and Europe, taking in shows in Bratislava and Turkey as well as developing them a hardcore following in France and Belgium, with a reputation for tearing the roof off the sucker…
Pest are ready to return with a new record, “All Out Fall Out” which shows a massive leap forward in terms of the development of their style - less a departure from the previous record than a comprehensive re-work of the influences involved into something altogether more satisfying. And their many live shows have played their part, too, with Pasta explaining that “the first album was more sample-based in comparison to the new one, which is now more orchestrated in the way the songs are built and how the moods are presented.”
Ask another member of the group and you’ll probably get a completely different analysis, without anyone else really minding. That’s the beauty of Pest - they’re a mass of contradictions but a mass that always works.
All Out Fall Out
Necessary Measures
Pat Pong
Chicken Spit
Jefferson Shuffle
Slap on Tap

Rainstick Orchestra
Baku Tsunoda (25) and Naomichi Tanaka (28) have been working together as the Rainstick Orchestra for the last four years. They met when they were both DJing in a club in Tokyo and, as they lived near to each other, they began hanging out and trying to improve their musical skills by working together.
By day, Baku is an Editorial Designer and Naomichi is a Systems Engineer. But it’s music that drives them both. While Naomichi cites an early love of the music of Manchester as a formative influence as well as time playing in punk bands, Baku started out playing guitar and piano in both a Yellow Magic Orchestra covers band and a session group who played in the style of Maceo Parker and Funkadelic.
What they create together, using guitars, piano, bass & sequencers, is a delicate ‘systems music’ that gives a nod to the minimalism of Cage and Reich as well as echoing forms such as techno and jazz. Unsurprisingly, they both subscribe to the idea that music is “borderless”.
“We are influenced by the art of different kinds / genres, such as paintings and constructions rather than music in many cases”…
The Floating Glass Key in the Sky

The most convicted felon of the 1200 Hobos Team. The Sebutones unofficial cure for loneliness. Material Homewrecker. Loyal chief physician to the broken hearted, desperate and dislocated. Cult-leader. Anticon graduate. Box Cutter-wielding threat to soundmen everywhere. We could feed you the bullshit all day…or we can sell you all the lofty dreams in tonic form.
If you followed the "underground" hip-hop movement in North America during the late 90’s, you may have seen his name on lots of the records, and you probably saw him on stage at many a show around that time. Buck 65, Sebutones, Sage Francis, Peace (Freestyle Fellowship), L’ronius, Aquasky, The Goods, and various Anticon members all have a place in the story. It’s a long story, all there in recorded form if you want to do the work and spend the time. It’s all relevant to what Sixtoo is doing today, but neither him nor any of the aforementioned people tend to dwell on the past. They’re all in their own place now and have come into their own in different ways.
Early 2000 is when it all really started coming together. Just before leaving Halifax he released Duration, a record that, for the first time, took him away from the mic, and put him solely behind the sampler. The results were heralded as an instrumental hip-hop classic, and things started looking up-way up-for Sixtoo.
The following year saw him freshly re-located to Montreal, and signing on with UK based Vertical Form Records. The relationship with Vertical Form saw the release of "Antogonist Survival Kit", a dark-ass record that showcased both sides of his skills : back on the mic for half of it, and hitting the SP for the 2nd half. It was signature Sixtoo production and rhymes, but one also got the sense that his new surroundings in the North end of Montreal were starting to bring something different to the mix.
A lot has been written and speculated about the effect of Montreal winters on local musicians. It takes some long, cold, dark months living by the railroad tracks to produce something like Godspeed You Black Emperor. Alien8 Records, Constellation Records, Mutek Festival. Ever since Amon Tobin moved to the city things have been getting just a little bit denser with his sound. And the same can be said for Sixtoo. By the time 2003 rolled around, Sixtoo had come to the attention of the Montreal Ninja Tune office and he found himself with a fresh new contract, and a turning point on which to really assess his work up to that point and to decide on how he wanted to proceed. All the releases up to that point had reached some type of notoriety, but also were hinting at another level of untapped potential.
So when it came time to record what would become "Chewing On Glass & Other Miracle Cures" a completely new style was employed. Not content to make another record based on mining wax for samples, he set about tapping into various live musicians to get the source material that would ultimately be chopped up and re-arranged for this record. Taking the basic idea of sample-based music but building the samples from live sources, and in some cases just letting the live elements take over. An organic approach, but also one that doesn’t ignore the current movements of microsampling and effects programming. All in all…it’s something else. Can’s Damo Suzuki, Norsola and Thierry from Godspeed You Black Emperor, Matt Kelly, Eric Craven from The Hanged Up, Sixtoo, and many more can all be heard programmed and chopped in the signature Sixtoo dark/sinister way. All brought together to create what is essentially a psyche rock/jazz masterpiece as made by a long time hip-hop producer.
So know this…Sixtoo is on some entirely other shit. Sampling live as opposed to sampling records. Playing as a musician instead of a collage-artist. Working with people that can help to fully realize the ideas within the music, as opposed to strangling ideas in order to keep them contained and manageable.
Contained is safe, and safe is played. Sixtoo is out of the box, and it has all just started, again.
Sixtoo’s Discography
2004 - Sixtoo – Chewing On Glass and Other Miracle Cures LP/CD (Ninja Tune, May)
2004 - Sixtoo – Boxcutter Emporium 12" (NinjaTune)
2004 – Sixtoo – Almost A Dot on The Map [the Psyche Years Retrospective Compilation] (Vertical Form)
2003 - Sixtoo - Antagonist Survival Kit LP/CD (Vertical Form)
2003 - Sixtoo - Antagonist Survival Kit Instrumentals 12"/EP (Vertical Form)
2003 - Sixtoo - Outremont Mainline Runs Across the Sunset 12" (VerticalForm)
2003 - Sixtoo vs. Simahlak - Double 7" pack (Bully Records)
2002 - Sixtoo & Matth - He Did Glass Music 7" (Bully Records)
2002 - Sixtoo - Duration LP (Audio Boxcutter)
2002 - Sixtoo - Duration CD (Cease and Desist)
2002 - Sixtoo - Duration Video (Independent)
2002 - Sixtoo - The Secrets That Houses Keep 10" (TRC/Tandem)
2001 - Sixtoo - Songs I Hate and Other People Moments CD (6Months)
2001 - Sixtoo - Work In Progress 12" (Anticon)
2000 - Sixtoo - Termination Dubs (Dubplate)
1999 - Sixtoo - Psyche Continuum CD (Metaforensics)
1998 - Sixtoo - Psyche Intangible CD (Metaforensics)
1997 - Sixtoo & Moka Only - Crystal Senate Split 12" (Handsolo)
1996 - Sixtoo - Progress Cassette (Ant Records)
1996 - Sixtoo - Return of the Seeker Cassette (Ant Records)
1995 - Sixtoo - Four Elements Cassette (Ant Records)
1995 - Sixtoo - Superstar Props Cassette (Ant Records)
There are recordings that exist prior to this…but they really suck.

Sebutones/Side Project Related (Sebutones are Sixtoo and Buck65):
2003 - Villain Accelerate (Sixtoo and Stigg of the Dump) - Maid Of Gold (Mush)
2002 - Stigg of The Dump (feat. Sebutones) 10" (Endemik)
1998 - Sebutones - 50/50 Where It Counts CD (Metaforensics)
1997 - Sebutones - Sebutonedef 12" (Four Ways To Rock)
1996 - Sebutones - Psoriasis Cassette (Four Ways to Rock)
Production and Guest Appearances:
2003 - DJ Signify (feat. Sage Francis and Buck65) - One Last Sleep (Lex/Warp)
2003 - Non Prophets – Hope (Lex, Warp)
2003 - Robert Lax - Re:Lax Remixes (Bayerisher Rundfunk)
2003 - Iso 68 - Zwei Engel Korrigiert Remix (Haus)
2003 - DJ Vadim - Edie Brickell Remix (Ninja Tune)
2002 - Sage Francis - Personal Journals LP (Anticon)
2002 - Anticon - More From June single (Anticon)
2002 - Smyglssana - Foaming Prairie Remix (Vertical Form)
2001 - Tommy V - Crew Cuts Vol. 2
2001 - Alias - Three Phaze Irony LP (Anticon)
2001 - Aquasky feat. Sixtoo - Shaman and Shaman Remixes 12"s (Tribe)
2000 - Kunga 219 - Tharpa’s Transcripts CD (Goodnight Musics)
2000 - Sole - Bottle of Humans LP (Anticon)
2000 - Shapeshifters - Planet of Shapes CD
1998 - The Goods - Dream Sequence CD
- Recyclone - Dead World CD (Ant)
- DJ Moves - Hiss2 (LowPressure)
1997 - DJ Moves - Hiss (LowPressure)
- Knowself - Everything is Under Control
It's the mindfuck, Yo!
Duration CD/DVD
Chewing On Glass
NEXT soundtrack
Homages EP
Body Ache Summer
Box Cutter Emporium
He Did Glass Music
All Star Battle!! (2nd Pressing)

Skalpel are Marcin Cichy and Igor Pudlo DJs/producers from Wroclaw, Poland. Being new recruits of Ninja Foreign Legion, they are rather hesitant to speak about their past.
Sufficient to say, they are talented DJs, whose 4 mixes were aired on Solid Steel in the past, two of which were released as "Virtual Cuts" - namely the best mixtape released in the history of electronic music in Poland. The year 2000 was a landmark for them, as they traveled the country with DJ Vadim and his Russian Percussion, presenting an amazing 4-deck show. Later that year they released demo CD-R titled "Polish Jazz", which not only received a lot of critical acclaim, but also led Skalpel to signing a contract with Ninja Tune.
For the last two years they've been digging in the crates, trying to build the most exciting collection of samples from Polish Jazz records. Now they are slowly unleashing the music created from these sounds. They ressurected dusty&smokey spirit of polish jazz of 60s and 70s, and reimagined it for 21st century audiophiles.
Break Out

Super Numeri
Adlington House
xxxxxxxxxx xxxxx
xxx xxx
3rd July 2002
Dear Ninja Tune Recording Company,
I have been asked to provide some information about my tenants who call themselves ‘Super Numeri’. They have lived at Adlington house for the past two years and, because I spend a great deal of time at the property, I have had to endure their activities at any given time of the day and night.
I know very little about modern music, but from what I can gather ‘Super Numeri’ consists of an ever-changing line-up which includes the classic rock and roll instrumentation, but also involves brass, woodwind, harp and a very fine string ensemble (my wife and I particularly enjoy this element). What has been less appealing, at least from a landlord’s point of view, is the way in which the group has developed into a small community that display little respect for other tenants in the building. On one particular occasion I caught more than thirty peculiarly dressed people in my garden participating in what can only be described as an orgy of live music and dance whilst burning one of my Victorian wardrobes on a pyre they had fashioned from cement slabs. Understandably at the time I was senseless with rage but I have come to admire their sheer audacity. Over the years we have become quite close and I have seen the group play at what they claim is Liverpool’s only avant-garde indoor fete ‘Den Du Frott’. I have no idea what this means but I had a very nice time watching them perform their experimental music and am now really glad to hear that they are now signed to your record company. Although classical music is my first love, there is a delicate beauty in ‘Super Numeri’s’ sound that I have grown to love and hope that others will too.
Yours Faithfully,

The Welcome Table
Great Aviaries
The Coastal Bird Scene
Electric Horse Garden

The Cinematic Orchestra
The Cinematic Orchestra
"Wide Screen Entertainment" (The Guardian)
The aptly named Cinematic Orchestra (TCO) were formed by 30 year old J. Swinscoe back in 1999. At the time Jay was still an employee at Ninja Tune in South London, where he was responsible for export sales at the long-standing independent record label.
Swinscoe arrived at London Bridge from Scotland via Yorkshire and Cardiff with a background playing bass and guitar in bands and DJing, as well as a head full of ideas and influences, such as his love of jazz bass players, rhythm sections and film soundtracks. So while he knocked out Mr. Scruff and Coldcut records to Spain and Scandinavia by day, he began putting together the TCO album in his downtime.
‘Motion’ Taking on the role of bandleader, Swinscoe rallied a group of adventurous jazz players and delivered a debut album that took everyone by surprise and was voted album of the year by listeners to Gilles Peterson’s Radio One show. And more than a few other programmes too! It is a record which underlines the cinematic in the Cinematic Orchestra, with Uncut likening it to "every hard-boiled, neon-lit Hollywood thriller you’ve seen, the sound of a thousand femmes fatales, doomed P.I.’s and bitter plot twists remixed and refashioned in one ingeniously sampled audio narrative".
‘Motion’ was followed in 2001 by an album of TCO remixes of other artists (‘Remixes 98-2000’!) which garnered more critical acclaim and also caught the imagination of the broadsheets, with The Guardian heaping praise upon both Jay’s sense of space and his attention to detail: "It’s frighteningly rare that a musician in a contemporary field brings so much generous knowledge and that transforming power to their work, inviting you inside their world and introducing you to a new way of listening". ‘Every Day’
If ‘Motion’ reflected the cinematic aspect of TCO, their second album ‘Every Day’, brought out more of the orchestral side, too. Arguably a more refined record than its predecessor, it is uncompromising in its approach nonetheless. And in these production-line, rebirth-of-the-pop-idol times, ten minute tunes and seven tracks on an album are hardly the norm. But evidently the Cinematics do their own thing very well.
On ‘Every Day’, Swinscoe worked with bass player Phil France as his co-pilot and co-producer, France’s background in jazz the perfect counterpoint to Swinscoe’s technical knowhow and raw feel. The pair flew out to St. Louis to record the legendary Fontella Bass (of ‘Rescue Me’ and Art Ensemble of Chicago fame) for the single ‘All That You Give’ and ‘Evolution’, both of which appeared on the album. Closer to home, they enlisted the talents of Mercury and Brit nominated South London rapper Roots Manuva on the soul searching ‘All Things To All Men’.
‘Every Day’ also features the drumming of modern-day jazz legend Luke Flowers , who had played together with France for a number of years as youthful stars on the northern jazz circuit. Another name on the same scene was the much travelled fellow Mancunian, keyboard player John Ellis who played on the 'Everyday' album and toured live. He has now been replaced by another Mancunian Steve Brown for the start of the Man With A Movie Camera dates and beyond. Next up, and a fixture at left of centre jazz gigs all over the world, is 24 year old saxophonist Tom Chant, who is known as one of the UK’s top free jazz players. Turntablist PC, meanwhile, is one of the original Ninjas, for many years the studio backbone of the label and an integral part of the DJ Food project.
The single ‘Horizon,’ which did not appear on ‘Every Day’, featured feisty 24 year old Niara Scarlett who has been touring with the band over the last year (and who is featured in both the documentary and the live performances on the DVD). Niara is also a successful songwriter in her own right with her credits including the Pop Stars: The Rivals ‘Sound Of The Underground’ single.
Live In the last three years the Cinematics’ have played far and wide at every conceivable type of venue and on all kinds of occasion. They have shocked out from the Jazz Café to the Jazz Bop via Ronnie Scott’s. And in somewhat hardcore fashion they toured the North American Jazz Festival circuit in the back of a transit van, with the dates culminating in a prestigious support slot for John McLaughlin in Central Park.
They have toured in Germany, Japan, Italy and Portugal. They have also clocked up the music festival mileage appearing at, amongst others, Homelands and Essential (UK), Sonar (Spain), Celerico De Basto (Portugal), North Sea Jazz and Drum Rhythm (Holland), Cannes (France), Fuji Rock (Japan) and Montreux (Switzerland) and have headlined The Big Chill twice. Their appearance on the Radio One Live week in Birmingham in 2001 with Roots Manuva and Ricky Rankin, was also a memorable affair and they were invited back to play at last year’s event in Nottingham.
Other live highlights include playing at the presentation of a Lifetime Achievement Award for Stanley Kubrick by the Directors Guild. Also the ‘Every Day’ album launch when the Hanover Grand was dressed and draped with red velvet curtains and Chinese lanterns and new TCO singer Niara Scarlett battled it out with Fontella Bass. And most recently, they sold out the Shepherds Bush Empire wand had all three balconies jumping.
Man With the Movie Camera
Remixes 1998-2000
Flite (Remix)/ Man With A Movie Camera (Remix)
Man With the Movie Camera single
All That You Give
Channel 1 Suite/Ode To The Big Sea

The Herbaliser
It’s not every day that you come across a duo like Jake Wherry and Ollie Teeba. They’ve been working together for over a decade and continue to progress and improve, to excel in the competitive world of hip hop production and beyond.
Jake Wherry grew up in South West London. A diet of jazz and James Brown provided the soundtrack of his childhood and teenage years. He naturally found himself getting into rare groove and old school hiphop and played guitar and bass in many jazz, funk and rock bands. Ollie Teeba, meanwhile, was strictly about the hip hop. He began DJing at 15, was playing out in London within a year and, in between collecting sneakers.
Despite knowing of each other’s rep at sixth form college it was only to be years later that they would convene at Jake’s now legendary studio, Traintrax to start their beat making careers. The guys immediately hit it off and began working on material of their own, utilising the skills of seminal collobrators DJ Malachi, Kaidi Tatham (Bugz In The Attic) and Ralph Lamb (Easy Access Orchestra). Wherry had played in school bands with PC (DJ Food) and when he heard the early Herbaliser demos, he was quick to introduce them to Ninja Tune; just at the time of the mid-nineties explosion of hip hop jazz breaks.
‘Our instrumental style was born of a necessity to produce hip hop music, but without access to rappers we had to develop a new approach’.
Their first album, the classic “Remedies,” was released by Ninja in October ’95, a sharp hit of hard breaks, jazz sampledelia and funk, a record that could only have come out of the UK. 1997’s “Blow Your Headphones” added more vocals to the mix, in particular introducing the world (outside of the New York Underground scene) to the talents of What What (now Jean Grae).
Counteracting the prevalence of a couple of DJ’s and a bongo player being the most common ‘live’ presentation of dance music, and inspired by the great funk bands of the previous decades Wherry and Teeba decided it was time to take the musicians they worked with out on the road. With Tatham, Lamb and Patrick Dawes (percussion) already on board, it was a small step to making a seven piece whose blend of hip hop rawness and funk band tightness made them a major fixture at festivals across Europe.
The experience also caused Jake and Ollie to re-think the process of making a record. For 1999’s “Very Mercenary” they also began sampling their own playing partners, originating new grooves and then splicing them in the sampler as if they were off a piece dusty rare vinyl. It also featured a stellar cast of guests, What What this time being joined by Bahamadia, Blade, and Roots Manuva. But it was the musical breakthrough that fascinated them most and allowed them to indulge a love of sixties soundtrack and library records without merely chopping and looping the originals. Hence, whilst “Something Wicked This Way Comes” (2002) featured another fantastic batch of guest vocalists, including MF Doom, long before his current deification and Rakaa Iriscience (Dilated Peoples), it was as music that it really fascinated, a dark psych-funk underpinning being revealed.
The band went back out on the road and the record’s commercial and critical success saw The Herbaliser rising to headline status at many key UK and EU festivals with a live show that by now left most other for dead. Unsurprisingly, perhaps, the boys leapt at the chance to produce last year’s “Solid Steel Herbal Blend” mix and reassert their prime skills as mixers and hip hop heads! Meanwhile, their self-evident production chops have got them gigs making music for everyone from Motorola to Guy Ritchie (“Snatch”) to PlayStation (“Tony Hawks Underground”) to writing NFL’s theme for the primetime “Sunday Night Football” on ESPN.
All of which leads us to “Take London”. As you’d expect, the record shows further refinement and expansion in sheer technique, while tracks like “The Generals” show that the boys have lost none of their edge, or sheer enjoyment of fucked up, crazed hip hop tomfoolery. And talking of the Generals (the most unusual group to come out of US hip hop in a good few years), it’s great to see this album putting back one woman centre stage. What What may have morphed into Jean Grae, but her skills have gone superhuman. But then The Herbaliser have always been about progression. That and being dope…
Take London
Solid Steel presents The Herbaliser: Herbal Blend
Something Wicked This Way Comes
Session One
Very Mercenary
Blow Your Headphones
Nah'mean Nah'm Sayin
Herbal Blend - Special Ingredients (PROMO)
It Ain't Nuttin'
Time to Build
Something Wicked
Good Girl Gone Bad
Something Wicked This Way Comes (Promo 2x12")
8 Point Agenda
The Missing Suitcase
Road Of Many Signs
Giant Wall Crawling Insect Breaks
The Blend (mixes)
New And Improved/Theme From Control Centre
The Flawed Hip Hop EP
Repetitive Loop
The Real Killer

The Irresistible Force
The Irresistible Force: Mixmater Morris
Mixmaster Morris is an underground legend who hardly needs any introduction. He started on pirate radio in '85 with "the Mongolian Hip Hop Show," and since then he's been a dynamic force on the international avant garde music and festival scenes.
Morris started The Irresistible Force in '87 and made two very collectible early singles. He developed a live acid house concept into The Madhouse (1988), which was widely credited as the first live techno event in London. He joined up with The Shamen at the end of '89, creating the highly acclaimed Synergy club, which toured the UK and Europe for over two years. Morris supported The Orb at many of their early shows, and other bands including Spiritualized, System 7...
MMM then signed to Rising High and released two classic Irresistible Force albums, Flying High and Global Chillage. Both made the indie top 5 and were released in the US (Astralwerks, Instinct) and Japan (Sony.)
The Mixmaster made his name as the hardest working chillout DJ in the world, doing all-night soundscapes in 30 countries at a bizarre selection of parties. In the US he appeared at 'Even Further' in '96, at the Full Moon Party in the Mojave Desert, at the Plantasia rave in San Bernadino, on a boat party in San Francisco, and at many small clubs in NY, SF, LA, Chicago, Boston, Baltimore, Milwaukee etc. In Germany, he appereared at the Berlin Love Parade for ten years running (the world's largest techno event,) and recorded two deeply chilled Dreamfish albums with Frankfurt electroguru Pete Namlook. Morris is still one of the UK's most popular DJ's across the country, he has been resident DJ at Glastonbury Festival for six years, warming up for The Prodigy, Chemical Brothers, Jamiroquai, Stereolab etc. In Japan he played all over the country, including the massive Rainbow 2000 raves on sacred Mt. Fuji.
Morris recorded The Morning After mix CD in 1996 for Positiva, which shows his mixing style at the time, blending trip hop and ambient jungle into a cool soundtrack for head-nodding. He also made a classic ambient mix CD, split with Alex Patterson for Mixmag. From 1995 to 1999 he was the only DJ with his own page in the latter magazine, with a chance to champion underground music and chillout vibes. Nowadays he's recognised as a leading critic of corporate dance music.
Many of the leading electronic acts had their first press coverage courtesy of the Mixmaster: Aphex Twin, Ken Ishii, Black Dog, Orbital, Atom Heart, Bedouin Ascent and more recently T Power, Squarepusher, Dot Records and Jimpster. No wonder Radio 1's John Peel named him as his 'natural successor.'
After a break from recording he signed to Ninja Tune, and recorded the acclaimed "Its Tomorrow Already," releasing the single Nepalese Bliss/ Fish Dances to preceed the album release in 1999. The single contained strong remixes by the likes of Fila Brazilia, Jimpster and Amon Tobin.
In early '99 Morris recorded the "Quiet Logic" album with SF's Jonah Sharp (Spacetime Continuum) in Tokyo's YMO studio, released by Daisyworld. Later in '99, Morris ran the acclaimed 'Nubient' night at the Dogstar in Brixton. A weekly Sunday event, Morris played alongside heavyweight friends such as Luke Vibert, Coldcut and Claude Young. Best of all, it was free!
Morris toured extensively in '99, completing a mini-tour of America with a larger US tour at the end of the year. He giggied in the UK and Europe, and somehow kept up with his relentless schedule of DJ bookings around the world.
Over the last year, Morris' schedule has been equally relentless, but just as rewarding. He played several sets on Kiss FM, and completed another U.S tour. During his time in the States he put together sets for several internet radio stations, including Icast, Dublab and Groovelab. He won the 1999 Ibiza DJ Award for the best experimental/ chillout DJ, and has been nominated again this year.
Further to this, Morris’ has put together several mixes for Solid Steel showcasing his incredible sense of the eclectic, and the size of his record collection! This year, Morris’ will be the only British DJ to have played at all 10 Berlin Love Parades, an event he remains enthusiastic about.
Morris recently produced a track to go on the "Groove Movie" soon to be released on Sony Morris is extensively quoted in an MTV produced book "Looking for the perfect beat". And in between DJing dates, he's still working on the perfect beats for his next Ninja release.
It's Tomorrow Already
Fish Dances
Nepalese Bliss

Treva Whateva
Treva Whateva – whateva, man…
Wonkiness is next to Godliness and Treva Whateva resides next to Wonkiness. So when you give it the time to perco

06 Oct 2006, 13:50
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Parte 3

Up, Bustle and Out
'Cuban Master Sessions 1 & 2, Calle 23, Havana' produced and explored by Up, Bustle and Out
There is an intriguing atmosphere hanging dark like Shakespeare's 'Tempest' over Caribbean Seas. This is a 'Master Sessions Series' recorded between two cities from opposing sides of one huge ocean, capturing 'the smokeyness of Bristol and the coolness of Havana'. Could be mistaken for a scene from Graham Greene's novel 'Our Man in Havana' - in fact, this 2-part album series integrates music, literature, and film into one compelling intrigue.Conceptualized, organized and produced from within two Islands: the project knew no such territorial boundaries other than horizons that folded outwards. Drifting dreams sealed like messages in bottles were beached, broken open and the Words, Music and Images took shape from out of the morning sea breezes. Departing from Bristol's Port, 'Up, Bustle and Out' docked at Sonocaribe Studios on Street 23, Havana, then teamed up with co-writer 'Richard Egües', whose rhythm section put the Descarga into everything. The Sound - old style, the Roots - historic, the Studio - classic valves, the Vibes - spiced with sabor, the Cut - Bristol/Cuban blend: sounds and smokes now as good as it did then. So. How did this invitation to record in Cuba with famous Maestros occur? On October 8th 1997 'Up, Bustle and Out' released a timely EP single in memory of Che Guevara on hthe 30th anniversary since his death in combat. Che spoke and lead a socialist revolution with rhythm - 'Socialismo con Pachanga'. This he conveyed via his soft weapon against capitalism - 'Radio Rebelde'. From the initial days of being a crude secret transmitter, Radio Rebelde has grown into becoming Cuba's principal station today. 'Up, Bustle and Out's' tour and recording royalties were used to send this station updated equipment - an offer that was, in turn, to lead to a rare invitation to record in Cuba. The 'Cuban Master Sessions Series' was born - ¡esta nacido!

The Music
The project was co-written by, the man who forms the roots to popular Cuban music. He is Cuba's number one flautist and orchestrator, and played on the successful 'Rubén González' and 'Buena Vista Social Club' albums. Born in Cruces, Las Villas province in 1926, Richard Egües moved to Santa Clara at an early age. "My house was 'la Casa de la Música. My father was an integral part of the old school directing many bands. Our heads were completely submersed in music. Through his discipline, I studied and learnt a quantity of instruments such as the piano, flute, trumpet, double bass and lots of percussion." Richard dreamt of success - to travel the World as the leader of a famous orchestra. He paid his dues whilst on this magical and unfounded road, performing for various bands. Then came the break. The founder of 'Orquesta Aragón', 'Orestes Aragón Cantero' invited Richard to play his flute with the Boys as a stand-in. The cheeky, choppy, and flirty Latin melodies cast a spell over the entire audience. Richard was invited in as a full member. From their foundation in Cienfuegos, 1939 the orchestra moved permanently to Havana in 1955. Richard didn't harbour a solitary reservation - mystical Havana emanated music. 'Radio Progreso' opened the doors to fame for Orquesta Aragón by serious plugging across the Antilles airwaves. Their status grew to levels defined by sheer folly with albums selling 30,000 copies in Puerto Rico alone! From here the story reads explosively - World sell out tours, Richard becomes the band's leading orchestrator, recognition as Cuba's number one flautist, composes and performs over 100 themes of which interpreters include 'Nat King Cole', TV appearances and, of course, the glitzy shows in Havana's reputed Cabarets. In 1984, Richard left Orquesta Aragón forming his own - 'Orquesta Richard Egües', with whom he performed on this 'Master Sessions' series.
Today, Richard and the Boys comprise a unique ensemble of vintage Salsa musicians that only Cuba boasts. They are 'Los Maestros'. Every Maestro has a confidante - in Richard's case his support, friendship and spirit is carried in the coolest of them all. His name is 'Peñalver'. When asked why the orchestra didn't leave Cuba like so many musicians did during the 1960s Peñalver responded calmly, "Listen, look, feel the rhythm in the streets. Havana is our history, the roots from which we spring." Richard would be chuffed to know that his right hand man had spoken these Words for him between mild puffs on his fat Havana cigar. The two mainstays of Up, Bustle & Out are ' Clandestine' Ein and Rupert Mould. ‘Clandestine’ Ein is the man behind the beats of 'Up ,Bustle and Out'. This renown recycler of vinyl will stop at nothing to find those elusive sounds, cleverly montaged together to create eclectic backing trax. His most recent haul of old 33's was still smouldering from a severe scorching in a fierce shop blaze, a bit singed round the edges, yet still playable. "We start off with hundreds of ideas, find out what fits and melt them all together into a demo," says Ein, "then hand it all over to some of Bristol's best jazz muso's for the finishing touches." Experimentation is the root - especially when it comes to the final mix with plenty of behind-the-scenes dub-effects and ambient treatments. "We love our 'Air Mixes' and hope to release them on a separate album one day." Rupert Mould is an unusual fusion of Eastern European Gypsy blood and English aristocracy, of a voyage to the Americas when Europe appeared old and disenchanted, of a Grandmother who worked her whole life so that the family could be educated in Universities; these are the experiences that contributed to the ways in which Rupert Mould saw the World develop. Part anchored, part adrift. He met 'Clandestine Ein' in 1989 whilst hosting a Pirate Radio show. 'For the People' radio boasted Bristol's most inspiring DJs - Daddy G & The Massive Attack, Smith & Mighty. This hooded scene grew into a club - The Moon Club where folk sweated to Rare Grooves, Hip Hop, Jamaican Dub and Latin. Then out of the blue beats, they were all cutting vinyl - an exciting, inspiring and important development. Rupert Mould has now conceived and produced 5 albums for U, B & O and Ninja Tune. So many of the songs are instrumentals, creating imagery within the music. The 'Cuban Master Sessions Series' was intended to set new ground upon broken ground; expanding into the production and collaborations with other artists, shooting films on Super 8 and cementing all this in the ubiquitous power of the written Word.
With so much being said and written about Cuba: passions and admiration running deep and strong, such a famous Island, proud people, definitive colours, a rich and tragic history and, ravished colonial gems, meant that the albums needed enriching with grainy film and a book. Mr Jules 'Shoes' Elvins of 'Waldo Films, London' shot 16 mm and Super 8 footage throughout the Island, incorporating revolutionary archive material, studio frames, urban and inland scenes. These have been eclectically cut and set to the music as a CD-ROM. And then came the book - 'The Rebel Radio Diary', which often contrasts the Diaries of Columbus when he chanced upon the Bay of Baracoa, Cuba, 1492, and Che Guevara when he disembarked in 1956. 'The Rebel Radio Diary' is termed a 'social-historical, poetic-travelogue' novel that has been edited by Alice Grandison - freelance editor for 'Canongate Books, Edinburgh'. It will be distributed nationally by 'Gazelle Books' to all good book stores. The Diary, as well as comprising direct entries of observation, is also intended to be historical, humorous, real, fantastic, romantic, poetic and, above all, captured through an Aperture of Youth. We leave You with a taster:"I'd recorded this persuasive percussion the previous night on my portable DAT player at a Santería-inspired backyard event. It was a timeless and weird event: sluggish bare feet pounded the dry earth to the magnifying power of the percussion maestro. It was hypnotic; twirling bodies stirred up the dust and the vision became sepia. In the centre was a black spiritualist who chanted a repetitive line. His voice was weighty and obscured amid the conga's bass frequencies. Other people replied to his
chants in concert, but I became lost in a daze of dust that rose and fell like a tired-out lava lamp. My face was sprayed with rum. Someone spat it out in a fine spray that sweetened my face and partially woke me. This was Afro-Cuban Brujería, or witchcraft."
Master Sessions Vol 2
Rebel Radio Master Sessions Vol.1
Light 'em Up, Blow 'em Out
One Colour Just Reflects Another
The Breeze Was Mellow (As The Guns Cooled In The Cellar)
Ron Y Menta EP
Hip Hop Barrio
Carbine 744,520… A Dream Of Land & Freedom EP
Emerald Alley/Compared To What
Silks, Perfume & Gold
Revolutionary Woman Remixes
The Dance Of Caravan Summer
Aqui No Ma / The Hand Of Contraband
Revolutionary Woman (Of The Windmill) (La Bandolera Del Molino)

Wagon Christ
So, for those of you who don't know the full and unexpurgated Luke Vibert story, it goes a little somethin' like this:Luke Vibert was born and brought up in Cornwall. His dad was a crazy Jimi Hendrix fan and then got into punk. His mum preferred Yves Montand and the Beatles. He went to school. His favourite subject is unknown.
Young master Vibert started playing in various bands and basically making a bad noise - he puts the oddness of the 'Cornwall Skool' (contemporaries Aphex Twin and Tom Middleton/Global Communications) down to the fact that they were so far from any metropolitan style police that no one really cared what they made or how it sounded or what you called it.Spurred on by the success of Aphex, Luke began to think about putting out some of his music. A new label called Rising High contacted Luke - they were looking for new ambient acts so Luke said he was making ambient music (he wasn't). Wagon Christ was born.Having convinced the label and many of the people buying his records that he was a new ambient guru, Wagon Christ continued to make sizzling, funky chunks of exotic business culminating in the masterful "Throbbing Pouch". But by this time, he had also discovered the joys of name-changing. Rephlex released his Vibert-Simmonds project (weird and slightly droney collaborations with a man named Simmonds). Blue Planet released his drum 'n' bass numbers under the moniker Plug. Mo' Wax signed him up for an album under the most radical title yet: Luke Vibert. Wagon Christ saw some major label action courtesy of Virgin, while Luke Vibert began a collaboration with renowned steel guitar player BJ Cole. And in between he pumped out a host of remixes for, amongst others, Nine Inch Nails, Squarepusher, Tortoise, Lamb, Stereolab and Mike Flowers Pops… (oops).
Now, Wagon Christ has come to Ninja (incidentally, the place where he has already released some of his finest remixes and tunes). Other projects include producing an album for a US rapper and continuing live malarkeys with BJ Cole.
As for "Musipal" it is a mammal whose females have a pouch containing the teats where the young are fed and carried. Actually, that's a Marsupial. But then, facts is facts…
Sorry I make You Lush
Ataride/Tomorrow Acid

*from Houston, TX, USA
*birthdate: March 31st, 1981
*began playing/writing songs for guitar at 12...
*started djing @ 17...
*scratched nonstop ever since...started a scratch/turntablist called "the truth" group @ 20
*which led to production..
*been producing ever since..
*as a dj I spin hiphop/disco/electronic/funk/downtempo/..
*have a side project called the throwback edits with my friends makes tapes and on hiatus.
*its a mid/downtempo jazz/electronic/indie project, thats on the verge doing something soon.
*with "you are beautiful at all times" i was trying to combine all my influences plus the mood i had been in that past year i was writing it.

You Are Beautiful At All Times

Zero dB
even if you've only just heard their name, you are sure to have already
enjoyed a hard fruit or more of zero dB's labour, whether one of their early
12" releases such as now jazzfloor classics "come party" and "click" or one
of the many quality remixes that these went on to trigger demand for by
truby trio, suba, peace orchestra, john kong & moonstarr, grupo batuque,
hexstatic, original soul boy, nicola conte, acme, interfearance and even sun
ra (co-mixed with gilles peterson). or maybe you simply know them for the
bleary head and weary body you were left with after a night out at one of
the many parties they've stirred up around the globe? zero dBoys chris vogado and neil combstock have been concocting a provocative, innovative and addictive brew of hardjazz, electro, latin, hip hop and house, laced throughout with their now signature dirty, heavy basslines. Their early cuts were nurtured by chris' eclectic and
experimental record label, fluid ounce, which released their early 12"s as
well as a compilation album of their remixes, " reconstruction",
their debut artist album, "Bongos, Bleeps & Basslines" will be coming out in
Summer 2006. to accompany the album release, zero dB will be embarking on a live "Bongos, Bleeps & Basslines" party tour this spring and beyond, across europe and the rest of the world - y'all wanna come party with them? you have been warned!
Bongos, Bleeps & Basslines
A Pomba Giro / Te Quiero
Bongos, Bleeps & Basslines

06 Oct 2006, 13:52
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gran sello!! eclectico sin perder la coherencia. me encanta todo lo de dj food/coldcut, vibert & zero db. pero en realidad hay muy pocas cosas que no me gusten de las que saca ninja tune.

06 Oct 2006, 13:59
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Si señor! gran sello. O meu favorito é o brasileiro Amon Tobin.

06 Oct 2006, 15:00
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Ubicación: RGP direct!!!
guapamente kommodore...
ya era hora de que este sello tuviera su propio post.

Echo de menos a los London Funk all stars... no estan en catalogo?
son unos de mis favoritos...

cojonuda la documentación... poco se puede añadir de momento

aqui dejo uno de los videos mas representativos desde mi punto de vista...
More Beats and Pieces de Coldcut.

no se... por poner algo :roll: :lol:

un saludo compadres!

08 Oct 2006, 01:31
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Joder, se me había pasado el post.

Como bien dice ferrarix, un sello que no pierde coherencia. Es que asi, de buenas a primeras, no se me ocurre algo que haya escuchado y no me haya gustado. Amon Tobin, Jagga Jazzist, Coldcut, Funki Porcini (este, esteeee......) Kid Koala, Hexstatic (tela tambien), Skalpel,Mr Scruff...

Vamos de esos me acuerdo ahora y son los que mas suelo escuchar.

Gran post kommodore


08 Oct 2006, 10:58
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Airborn Audio

Inside the Globe

Amon Tobin

Proper Hoodidge



4 Ton Mantis

Animals On Wheels

Never In And Never Out

Silver Back Mountain King


The Art Of Walking ... =flv&id=99

Sunday Seance ... =flv&id=74

Insomniac Olympics



Pick Up ... =flv&id=51


Avant Core ... =flv&id=76


Walk A Mile In My Shoes ... flv&id=101

Mr. Nichols ... =flv&id=98

Man In A Garage ... =flv&id=97

Everything is Under Control ... =flv&id=93

True Skool ... =flv&id=91

Re:volution ... =flv&id=12


More Beats & Pieces Live @ The Forum

More Beats & Pieces

DJ Set Japanese Version

Big Tobacco

Atomic Moog 2000

Coldcut & Hexstatic




Just Briefly ... =flv&id=89


Diplo Rhythm

DJ Vadim

Its Obvious

It's On ... =flv&id=40

Dynamic Syncopation

The Plan


Options in the Fire ... =flv&id=15

Funki Porcini

The Great Drive By ... =flv&id=31

Rockit Soul Music


Killer Apps


Distorted Minds (Guerrilla mix)

Salvador ... =flv&id=71


Hexstatic (ft. Juice Aleem)

Distorted Minds


A Casa (The House)

Flying Wonders

Infinite Livez

Bleed 4 U (feat Barry Convex)

The Adventures of the Lactating Man

Hit Me Baby One More Time (feat. Barry Convex

Jaga Jazzist

All I Know is Tonight

Animal Chin

Kid Koala

Basin Street Blues

Fender Bender


Safe Self Tester

Beginningless ... =flv&id=90

Mr Scruff

Sweetsmoke ... =flv&id=43


Get a Move On

New Flash

Wherever We Go ... flv&id=100

Lie Low

Stick And Move

Eye of the Hurricane

Communicate ... =flv&id=24

One Self

Bluebird ... =flv&id=81



Chicken Spit

Roots Manuva

Colossal Insight

Too Cold

Dreamy Days

Witness (1 Hope)

Juggle Tings Proper

Saul Williams

Not in my Name



Break In ... =flv&id=64


Super Numeri

The Coastal Bird Scene

The Cinematic Orchestra

All That You Give

The Herbaliser


Something Wicked

Wall Crawling Giant Insect Breaks

the Missing Suitcase

Road of Many Signs

The Infesticons

Hero Theme


Dans Le Club

De Pauvres Riches

(Je N'Arrive Pas A) Danser


So U Want Morre? (feat Roots Manuva)

Wait A Minute

We Dont Care

The Nonsense

Up, Bustle and Out

Hip Hop Barrio

Coffee Contamination .

Wagon Christ



09 Oct 2006, 10:33
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Ubicación: Gravel Pit


09 Oct 2006, 10:56
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Sabemos que la imagen de Matt Blacky Jonathan More es tan lamentable que es mejor ilustrar la entrevista consus caricaturas, pero la simple publicación de dos nuevos maxis esescusa suficiente para entrevistar a los cerebros de Ninja Tune. Másaun sabiendo que, en breve, les tendremos en el Sónar.

Las neuronas juguetonas de Matt Black y JonathanMore se han confabulado para no dejar tranquilo a ningún ser curioso.Desde sus inicios de remezcladores, sus producciones para Lisa Stanfield,su versatilidad inhumana como Djís (ver su trabajo para "Journeysby Dj"), sus proyectos (Coldcut Dj Food), las históricas representacionesen vivo, la creación de su propio label Ninja Tune, los proyectosmultimedia con los sorprendentes artistas gráficos Hex, las colaboracionesmás trasnochadas con Jello Biafra, Mark E. Smith o la remezcla delpadrino del soul, James Brown. Después de su último álbumtras un tiempo de silencio, "Let us play", ahora presentan enformato de dos maxis diferentes las relecturas del tema "Timber".Jonathan More al aparato, empecemos a jugar! Diez años creando puzzles sonoros. "Nuestra evolución ha sido parecidaa un proceso de aprendizaje, pero creo que lo que hemos aprendido es quelo mejor que podemos hacer es controlar las cosas por nosotros mismos; esla única forma de mantenerte fiel a tus ideas. La tecnologíaha evolucionado y nosotros con ella. Pero esencialmente, todavíahacemos los discos de la misma manera en que los hemos hecho siempre". "Creo que podemos ser considerados uno de los primeros que empezamosa remezclar y hacer cosas por el estilo. Cuando hicimos el mix de Erik B& Rakim "Paid in Full" ya se estaban haciendo remixes. No fuimoslos primeros en pensar en remezclar un disco, sólo que la gente quehacía las remezclas no era tan conocida como el artista al que mezclaban". La personalidad iluminada y sus diferentes caras. "La diferencia entre Coldcut y Dj Food esque los segundos son básicamente instrumentales, a veces puede teneralgo de contenido pero sólo en algunos de sus samplers, mientrasque, en Coldcut, las cosas tienden a englobar mucho más el mensajey la canción. Creo que esa es la diferencia. Con Dj Food es algomás! Puedes hacer lo que quieras, no importa realmente". "En la música que realizamos se pueden descubrir nuestros motivospara estar un poco cuerdos en este mundo: el humor, la conciencia socialy ecológica. Nos gusta tomarnos los tiempos difíciles consentido del humor, ya sabes, cuando el ordenador se ha estropeado por enésimavez y has perdido el buenísmo y bonito tema que acababas de hacer,ha desaparecido en el espacio y no tienes el disco, así que no lopuedes recuperar. En esos momentos, tienes que reírte a la fuerza.También pensamos que la música dance casi siempre tiene muypoco contenido y es bastante importante tenerlo. A los dos nos preocupanlas cosas que suceden y queremos hablar sobre esas cosas, así quelo hacemos". Ninja Tune y el descanso del guerrero. "Montar nuestro propio sello fue un acto desupervivencia. Fuimos independientes cuando empezamos y nos compróotro sello y luego a ese otro. Podríamos ver que muchas veces lossellos no estaban realmente interesados en lo que el artista teníaque decir. Cuando el artista decidía cambiar de direcciónera todo muy complicado y eso no nos gustaba nada, así que empezamossiendo independientes y volvimos a lo que sabíamos hacer mejor. Porejemplo, hay gente que compara Ninja Tune y MoíWax, pero somos diferentes.Nosotros somos independientes, somos libres. Ellos dependen de una discográficamayor". El matrimonio creativo con Hex. "Aparte de colaborar gráficamente connosotros, también estamos realizando temas en conjunto. Con "Timber"por ejemplo. Hex empezó con ese proyecto y luego me uní aél, por ejemplo en "Beats and Pieces". Empezamos con lamúsica primero, hicimos un esbozo y luego Hex hicieron el vídeoque lo acompaña! Así que depende de cada toma. Algunos temassurgen de alguien del grupo y luego, si a los demás nos gusta, entoncesempezamos a trabajar todos juntos". Culo inquieto nunca descansa. "Haremos más trabajo en vivo, posiblementerealizaremos un álbum en directo... Pero por el momento estamos descansandoy después volveremos al estudio a ver lo que sale, igual hasta nosves en el Sonar de este año. También estamos realizando algogrande para Internet, se llama "Res Rocket Surfer". Seráalgo muy fascinante, la idea de algo "mundial", que puedas realizar"jamás" con la gente de todo el mundo. Algo en directopor internet, es una cosa muy interesante. Obviamente, intentar montar algoasí es una tarea bastante difícil.. Intentar solventar muchosde los problemas que puedan salir... Va a ser fantástico". Algunos amiguetes para la causa (James Brown yJello Biafra). "Matt y yo habíamos usado muchos samplersde James Brown en varias cosas que habíamos hecho hasta el momentoque hicimos ese "Payback Mix". Grabamos una cinta que poníamosen nuestro show en la radio; le enviamos una copia a la compañíade discos y ellos le enviaron una copia a James Brown para que la autorizara!Y bueno, después un año, obviamente, se puso en contacto connosotros y nos dijo que era muy diferente a lo que él hacía.Así que volvimos al estudio a hacerlo bien. De hecho nunca trabajamoscon los masters de veinticuatro o de ocho temas, sino simplemente con losdiscos". "Solíamos usar algunos samplers de uno de los álbumeshablados de Jello Biafra, en algunas remezclas para djís. Nos gustabalo que decía y estábamos de acuerdo con su política.Lo fuimos a buscar y le pedimos que hiciera el tema con nosotros y tuvimosuna conversación muy larga sobre lo que estaba pasando en UK sobreel crimen juvenil y en cómo el gobierno quería "atacar"a la gente. Esa conversación y el material que luego le fuimos enviando(periódicos de aquí, panfletos de los partidos políticos!)forman las bases del tema. Luego nos lo envió a capella y pusimoslos beats utilizando el "playtime", un software que estáen el CdRom que viene gratis con "Let us play"". Ninja Tune está distribuido por So Dens.

09 Oct 2006, 11:32
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joder macho... te has colgao toda la web :lol: :lol: :lol: :lol:

09 Oct 2006, 16:13
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No hombre aun me faltan los downloads , podcasts , news..........
:D :D :D :D :D

He buceado por la red y en la wikipedia no hay mucha info sobre el catalago de ninja tune y en youtube hay poco videos , de ahi que toda la info este sacada de la web de ninja tune , que es de donde mas info se puede sacar .

:wink: :wink:

09 Oct 2006, 20:18
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Registrado: 24 Feb 2005, 04:20
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Ubicación: RGP direct!!!
pedazo de documentación en este post :wink:

Aqui te dejo este...(creo que no esta en catálogo pero no estoy seguro...)

pertenece al LP REWIND de HEXSTATIC...

fascinante! 8)

de las ninjezas que mas me han impresionado... :twisted:

un saludo! :D

10 Oct 2006, 17:30
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Registrado: 24 Feb 2005, 04:20
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Ubicación: RGP direct!!!

The London Funk Allstars : "Flesh Eating Disco Zombies versus The Bionic Hookers From Mars"


ZEN24 3xLP:
01 Introduction
02 Knee Deep In Beats pt.1
03 Allstars Theme
04 Junkies Bad Trip
05 Give It To Me Raw
06 The Chase
07 There’s Only One F In Funk
08 Flesh Eating Disco Zombies vs. The Bionic Hookers From Mars
09 How To Be Ninja In One Easy Lesson
10 Old Skool Reunion
11 Way Out
12 Mad Love
13 Love Is What We Need
14 Never Can Get Enough
15 Broadcasting Live From Planet Blapps!
16 U.J.
17 Today London, Tomorrow The World
18 Butter Fingers

:arrow: Funk :!:

el disco es un triple LP del 96... mítico, mítico...

Por cierto...
buceando por la pagina he visto esto...

November Friday 3 Las Palmas
Cultural Centre
Herbaliser DJ set (Ollie)
:shock: :roll:
pues bienaventurados los canarios que tengan el placer de disfrutarlo y seguramente a sus anchas... :roll:

19 Oct 2006, 03:39
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