Based in Oakland, Damon Bell‘s sets of of nu jazz, 80’s boogie, Brazilian bossa and afro-beat has made him a much revered DJ in the state of California, holding down famed residencies at places such as Supper Club, Green Circle Bar and Bar Dynamite. Forming his still long-standing relationship with Deepblak in 2009 with his debut release Kush Musik Part 1, Part 2 followed the next year and with Deepblak’s decision to adopt the vinyl format in 2011 Kusk Musik Wax arrived shortly after. With three great consecutive releases Bell quickly established himself as one of Deepblak’s key members alongside founder Aybee and Afrikan Sciences. The label itself is one everyone should be acquainted with; putting out house, techno, hip-hop, disco to more broken beat productions since 2001 with wonderful consistency. With a recently released debut LP titled Blues For The Libyan featuring collaborations with Afrikan Sciences and vocalist Khalil Anthony, getting a mix in from Damon Bell felt very natural. Featuring a couple of forthcoming tracks, alongside music from Ron Trent, DJ QU and Kai Alice, Truancy Volume 128 strays ever so slightly from some of the sounds found in other online mixes but still reflects Bell’s title as record collecting connoisseur.
I think a good place to start would be with San Diego which is where you’re originally from, right? For those who aren’t clued up with the city’s history, what can you tell us us about places such as Supper Club, Ole Madrid and Dynamite Bar and what they mean to you musically. “Don’t forget about Green Circle Bar, which came after Ole’ Madrid. So Ole’ was one of my first DJ residencies. I opened for a night called Brass which was a label night for the Delicious Vinyl sub label that was also called Brass. I was 17 years old and had already been collecting hip-hop, jazz and rare groove at the time. The night was with Orlando, Marques Wyatt, Dj Daz and occasionally the Umoja Hi-Fi Quintet who all came up from LA to do the night. I learned a lot from kats out that way man, some serious collectors. After that was Green Circle Bar, a home for many DJs in San Diego and out of town performers. The place saw the Roots, Arrested Development, Greyboy Allstars pass through as they were all rising to their individual fame and successes. I played their a couple times covering for DJ Greyboy, man you bringing up memories! San Diego back then had a strong music scene, people supported and enjoyed all types of shit. Bar Dynamite was myself and Ikah Love’s home for like six years, we talking say from 2000 to 2006, playing every Tuesday from 9pm to 2am. We were Four Corners Sound System, so the night was called Four Corners Sound System Presents. We played everything from hip-hop, acid jazz, jazz, reggae, funk, soul, disco, brazilian, house, broken beat – we kept it eclectic and fluid throughout the night. This is a place where I really took control of being able to play any kind of music in a DJ set. I mean at the night we had “house heads”, “reggae heads”, “hip-hop heads” so it was great to be able to give everyone a little something and include all into the night.
From what we’ve read you grew up with a background of jazz, salsa, funk and hip-hop. Can you roughly remember the time when traces of electronic influences started to seep into it? “Well hip-hop is electronic, so I was into that already. A lot of hip-hop records sampled early 70’s-80’s electronic music as well as soul and funk which is what I sought after. I was also going to ‘house’ clubs in LA and SD and using my older brothers ID before I was 21. I think what really turned me on to buying and collecting modern electronic music in the sense of the genre I believe you are referring to, was listening to Kraftwerk, Devo and those kinds of groups.”
So where does Deepblak and Aybee come in on the timeline? Your first release was in 2009 but I like to think you guys and the label might go back a bit further than that with the Oakland connection. “Yeah, not that far before, Aybee already had Deepblak up and running before we meet. We actually meet through Ron when he came to Oakland, around the time I moved up from Southern California. Me and Ron go back some years further and he brought Aybee over to the crib. I had at that time been working on music with JT and Tim K for The Hue project and had started working on my own tunes which Aybee was feeling and thus the Kush Musik series followed.”
You’ve had many residencies over the years and been part of some great DJ/production duos with people such as Chris Haycock, Ikah Love and JT Donaldson, whilst also touring with some spectacular names. What key things have you taken away from all this over the years? “Learned to appreciate the time spent with folks, collaborating on music and getting to know people. Allowing the energy of a collab or the energy of new meeting to flow. Traveling is and has been good for the soul. Also learned to never get too stressed when shit doesn’t go right, to just stay focused and fix it, or keep moving forward.”
You recently released your debut album ‘Blues For The Libyan’ on Deepblak recording featuring collaborations with fellow label mate ‘Afrikan Sciences’ and vocalist Khalil Anthony. What can you tell us about the album and how it came into fruition? “Well I had been putting together a few musical ideas and Blues For The Libyan came out of the beautiful chaos. It’s a commentary through the titles, words and feeling, on society, the world, man, genetics, history and culture.”
What can you tell us about the mix you’ve done for us? “It’s a mix of jams I’m feeling and had with me during the time of recording. Recorded over at Jerome’s place (Jerome Sydenham) and wanted to give your listeners a different side to me then most of the mixes I have out there currently. There’s a couple of tracks that are coming out next year on Don’t Be Afraid, and an unreleased joint too.”
What else can we expect from you in the next year? “I have three new EPs, a collab project with Aybee, and a possible album coming out next year. Me and AFSCI have to finish up some material as well, but no dates yet.”
Words by Riccardo Villella, 17 September 2015. Leave a comment
For the fifteenth edition of Functions Of The Now we’re extremely pleased to present a long time Truants favourite E.M.M.A. The world’s first introduction to E.M.M.A. came via clubnight-turned-label Wavey Tones’s inaugural release Rainbow Dust Part II, featuring the exceptional grime-gone-funky banger “Dream Phone”, but 2013 was the year her musical identity solidified. Appearing as part of Keysound’s new wave on scene-defining compilation This Is How We Roll, E.M.M.A. was presented as part of a united front that also featured Rabit, Wen, Beneath, Visionist, Mumdance and Logos. Of course, anybody listening to this music in 2015 will appreciate how prescient the A&Ring was there. While it took a little longer for some of her compilation compatriots to produce their statements of intent – indeed, some are forthcoming this Autumn – E.M.M.A.’s album came mere months after the release, the culmination of years spent honing her sound behind closed doors.
Despite the melodic, synth-heavy focus of her music, E.M.M.A. eschews the usual tropes that have come to dominate the instrumental grime of the 2010s: there are no Wiley-style square waves to be found here, and her UK Funky inspired rhythms combine uniquely with a Baroque melodic sensibility with results altogether more playful than some of her more downtrodden and sombre peers. This is suitably reflected on her and Aimee Cliff’s Radar Radio show Angel Food, for our money the most fun to be found on the increasingly vital young station. Although E.M.M.A.’s release schedule has slowed since Blue Gardens landed, her Functions Of The Now mix hints at the wealth of dubplates waiting to be unleashed, including the exquisitely titled Magna Kanye. Elsewhere, she finds common ground with producers on the dreamier end of grime: rising star Iglew, Gobstopper Records label head Mr Mitch and Coyote Records affiliate Tom E. Vercetti (solo and together with his production trio Silk Road Assassins) all make an appearance.
Before that though we have some recommendations, and because of the sheer volume of incredible mixes we’ve been hammering recently this time it’s a mixfile special. First up is essential mix series Sister. Created with the aim of solidifying a network of women within underground club music, every instalment is mixed by a woman and every track in every mix involves a woman in its creation. Particular favourites are series instigator Toxe’s inaugural edition, Bearcat’s mix of feminist ragga and Evolver promoter Malin’s doom-laden set of club abstractions. While we’re on the subject of Malin, her contribution to Tobago Tracks was the perfect pre-drinking soundtrack before the Pan x Janus showcase at Corsica Studios last Friday, and is well worth your time. Suffice to say she’s quickly becoming one of our favourite DJs. Elsewhere Rabit continues his rude form with a dizzying mix of collaborations with Non Records’ Chino Amobi, brilliantly titled “The Great Game: Freedom From Mental Poisoning (The Purification Of The Furies)”. It seems like Rabit’s new label Halycon Veil will be remaining closely aligned with Non after their co-release of Angel-Ho’s debut EP, and fans of the likes of steely production unit Amnesia Scanner would do well to keep their eyes on what comes next. Finally Ghazal, co-label head of potent party starters Staycore, contributed a wonderful mix as a companion piece to The Dance Pit’s latest Club Etiquette zine. If you haven’t read them already, the first two editions are here and here, and contain vital musings on how to make club spaces safer and more inclusive for people of all genders, sexualities, ethnicities and backgrounds.
Oli Grant caught up with E.M.M.A. over a series of emails to talk about her current musical movements and the status of those highly sought after dubplates.
Hi Emma, thanks for joining us. You’ve been out and about a lot recently, playing at Converge’s 1st birthday and for Coyote Records x War Child – how were those nights? “Converge was really fun, love those guys. A lot of my friends came down which was jokes and Rye Wax is managed by one of my oldest friends so it felt very familiar. It was nice to play Waiting Rooms for War Child; Tomas Coyote, Yamaneko and Moleskin have been very supportive of my stuff since day one.” How do you compare DJing to producing in terms of satisfaction? “Probably about the same but in different ways. I like seeing people’s reactions and shaping my set. Obviously I am a producer first though and making a sick beat or working with other people is always gonna make me get out of bed in the morning.”
What’s the optimum club environment for you, either to play in or as a punter? Have you been to any events of interest recently? “I’m not a big clubber. I’ll go to nights my friends are doing because I like their music and I like them, and you know you’ll have fun. Last time I was a genuine punter was for Kanye at Glastonbury, and the last thing I went to in London – which kinda blew my mind – was Arca playing in a church a couple of months back.”
We went to your Emerald City event at Power Lunches – memories of a really nutty set from Acre and wicked sets from you and Mokadem – it was great. Are there plans to hold any more? “Thanks! I am going to do another one but I’m working on some other things at the moment. Me and Aimee Cliff started Angel Food on Radar and we have a very clear idea of what we want to do with that, which is exciting. Also I played with a couple of vocalists, Inja and Amy True, on a collab for a live performance at the Kings Place Music Festival on September 11, called The Lost Souls Project, funded by the Arts Council.”
Reminiscing about your track Jahovia with Rebel MC on Blue Gardens, it’s exciting to hear you are working with more vocalists. What is the Lost Souls Project all about? “We were given a theme by the organisers of “Expressionism” so we’ve been working to a brief. It’s been really cool to hear the melodies Amy has brought to it with her singing and also Inja’s creativity. The track turns into sort of jungle at the end which reminded me how fun it is to make.”
That’s awesome – sounds like a unique opportunity. You also put together a mix inspired by specific art work for the Tate once too – do you often draw inspiration from visual art or ideas outside of music when producing? “Sometimes, if I see a film I like but that’s often the visual wrapped up with the soundtrack, so the general mise-en-scène. I don’t take literal references from art often but if I see a play or something which is immersive and completely unique, I guess I’ll make a mental note and remind myself that’s the standard I should be achieving in my music.”
Back to Radar Radio –how did the link up with Aimee come about? Is there a general theme for the show? “Me and Aimee have been friends for a hot minute – it’s a meeting of minds. We were drinking beers in a graveyard after a night out and had the epiphany that we should combine forces to do a supershow based on all the tasty emojis. Our musical vibe is sad and sexy with a hint of stunting on everyone else in the game.” Were radio shows influential for you growing up? “Tim Westwood was my favourite radio show back in the day. I liked how he used to re-load one beat he liked over and over again with all the bomb sound effects. I also got shouted out on it a few times as my alias “Rocky D” so I suppose that was my only tangible connection to the airwaves, until I launched my own show in university called “Heat in da Streetz” with my best mate Jo. That was epic af. I used to take CDs of Mobb Deep instrumentals and we would cipher. The American rapper Grafh did the show intro – thank god for MySpace.”
Are you listening to much contemporary music outside of your production circles? “Yeah there’s lots of great music around at the moment – I love Tei Shi and Keiya, I play them a lot when I’m at home too. I am inspired by their energy and where the music comes from. With all the music that I like, it comes from somewhere meaningful.”
You released an album fairly early on in your discography, would you like to work with that format again if the opportunity arose? You seem to have a lot of dubs circulating at the moment. “Yeah that album was a culmination of six years of my life, even though it seemingly came out of nowhere. Maybe I should have been releasing EPs in 2007 by music industry logic. I will do another album but I’m enjoying smaller projects at the moment. It doesn’t make sense for me to churn out another one ASAP considering what I know I put in to the first one. I’ve got lots of dubs but I’m quite precious about them because there’s a fine line between putting everything out there and propagating this disposable culture.” Are you working on any releases at the moment? “I’ve got a few things on the go, including something I want to do myself.”
Finally, that Lost Encarta Files mix you put out ages ago is a Truants favourite, and it’s great to now have you make one for FOTN – how did you go about selecting tracks for it? “Glad you guys liked it. These are just a selection of the kind of stuff I love at the moment. You can call it an Angel Food mix, as I’ve mos def bumped these on our show!”
1. Lil Jabba – Sooth
2. Tom E. Vercetti – Sketches
3. OBESØN ft Cheney – Say My Name
4. E.M.M.A – Sorbet
5. E.M.M.A – Bijoux De Diamants
6. E.M.M.A- Magna Kanye
7. Silk Road Assassins – Moon Shard
8. Iglew – Snowdrops
9. Mr Mitch – Phantom Prophet
10. Callahan – Basement Serial
11. SBTRKT – Paper Cuts
Artwork: Joe Jackson
If you’ve been reading Truants closely over the past couple of years, you’ll know we’ve sung Manchester-based collective Swing Ting’s praises on a number of occasions. Originally formed as a radio show, Swing Ting now manifests itself as a clubnight and a record label, championing their own productions within UK club and soundsystem culture. The nights tend to swamp Soup Kitchen with bashment, dancehall, azonto, soca, hip-hop, RnB and grime. Amongst the residents are integral characters Balraj Samrai and Ruben Platt, who’ve also been major proponents of Swing Ting as a label. Brackles, Fox, Trigganom, Famous Eno and Madd Again! – a collaboration between Zed Bias, Killa Benz, Specialist Moss and Trigga – have all featured on the label, as have productions from Samrai and Platt themselves. We premiered “Bad Riddim” back in March, a weighty instrumental backed with the Trigganom-featuring earworm “One Step”. Knowing how capable the pair are on the decks as well as in the studio, we figured it was high time we asked them for a Truancy Volume – what we didn’t know was how outrageous the end result would be. There’s no other way to put it, Samrai and Platt fully throw down in the mix and they’ll leave you feeling wavy for days.
How did you go about putting together the TV and what were you aiming to show? Samrai: “We pulled together a load of tunes we were both feeling, whittled the list down and worked out which seemed to fit together most cohesively. It was time-consuming but worthwhile. We were aiming to capture a snapshot of where we’re at in terms of current projects as well as putting in some seasonal favourites that have been running dances.”
Platt: “I feel like this has probably the most label tunes or things we’ve produced in a mix that we’ve done, which I guess is a result of feeling a lot more confident and settled as an outfit. Whenever we’re putting together a mix it takes a long time to figure how to connect the dots between what we’d play over the course of a club night in five hours and condense it into less than one, but I think we got there.”
There seems to be everything in here, from anthems to released remixes, dubs galore and some exclusives too – particularly from your crew. Have you always aimed to bring something fresh to throw down for the dance? Samrai: “We definitely aim to bring some fresh heat with us at all times! Sometimes it’s hard to play unreleased stuff in with anthems / released music that people have had time to get used to but where possible it’s great to showcase some unheard material. The extended family have been on fire of late so I think that made putting this volume together a little easier than normal.”
Platt: I think it’s always nice to give people something that they can’t hear anywhere else. Especially with our little pocket of a scene being so productive at the moment. But I don’t think it always needs to come from dubs or unreleased stuff, we get as much pleasure playing things that are years old that we’ve found on a record in a bargain bin somewhere.”
The final stretch of the mix is stellar, and it’s all directly related to the work you do. How do you find that balance between showing off what’s in-house and playing things from elsewhere? Samrai: “Yeah now you mention it that last stretch is all pretty much in-house crew (Famous Eno, Fox, Trigganom & Madd Again!) with family like Murlo & Okzharp featured alongside artists Serocee, A-Game & Kemikal. However, in terms of playing things from elsewhere we felt we wanted to definitely work in the Major Notes tune as that’s been a recent club favourite that brings a unique flavour to the mix – his productions have been big staples in sets we’ve played over the last 3/4 years. As the in-house stuff is varied from big vocal tunes, tough instrumentals, deep / trackier bits to minimal cuts the balance feels like it’s there. If the tunes on the last stretch had a similar sonic quality I think we’d strip it back.”
Platt: “I’m happy we got the Major Notes track in, he’s massively underrated and it’s such a strong vocal of a tune that’s been a Swing Ting anthem for ages now. Plus it helps make a link between the UK club stuff and the African influence that’s all over the mix. We’re just lucky that we’re being productive ourselves and those around us are sending us loads of great stuff – it’d be hard not to feature music from the camp really.”
You’re shelling down in Manchester on the regular, yet there’s clearly a transatlantic connect too. Geographically, where are the pieces to this mix coming from? Platt: “We’ve made a really strong connection with the Equiknoxx crew from Jamaica over the last year or so, and the results of that can be felt all over the mix. Florentino mixes his Colombian roots with UK influences in a totally unique way.”
Samrai: “Gappy Ranks, Madd Again!, Fox, Trigganom are very much UK Dancehall, but it feels good juxtaposing these guys with Nigerian artists like Timaya & Wizkid, Ghanaian MC Bryte and Caribbean legends Destra and Beenie Man as well as up and coming artists like Marcy Chin. There are the transatlantic links to New York via Dre Skull & Federation Sound and the West Coast with the rap bits and Kush Arora, who also draws on his Indian heritage in his Bhang Ragga works. The Equiknoxx connection in Vineyard Town, Kingston has to get a special shout out which has been special this last year, shout out Puppy Disco, Brent Bird, Bobby Blackbird, Time Cow, Shanique Marie & the extended family!”
You’re both working closely on things these days, whether it’s throwing or playing parties, producing or putting out releases on your label. Which parts are Samrai and which are Platt, if it’s even possible to tell? Samrai: “Ha that’s a good question. The parties have always been a joint venture in terms of programming. At times one of us with deal with a booking more than the other. Same goes with playing at other parties. There may be a contact or promoter I’ve known for a while or that Platt’s played for a few times. It’s sometimes complicated having a crew of people involved but in the end it’s fun when you all roll out together to play at event. Label-wise we tend to lead on different elements, we work to our different strengths.”
Platt: “With the music side of things, we don’t have a shared computer, so one of us will start on something, bring it to the studio and we’ll go from there. Sometimes the idea’s pretty much there, but more often than not, it’ll end up going in a pretty different direction. When we’re working on stuff together, one of us tends to be driving the session at a time, with the other hanging around in the background, making comments as we go. It’s probably not a conventional collaboration technique but it works for us.”
How does that dynamic translate to other collaborations that come about? It seems like you both seek to engage with others and their work quite regularly, which is really cool. Platt: “Moving into our studio has really helped with how productive we’ve been, and helps create a space where other people can come in and work on things with us. I think we realise that we’re in the middle of a bit of a purple patch with producers and vocalists around us and just want to channel that as much as we can. Obviously the internet helps a lot too, like with the Kemikal collaboration for example.
Samrai: I get a lot from working with other people as it’s how I first learned the ropes and as Platt mentioned the studio has been a blessing for this too. I often like doing the less fun roles like arranging and putting small touches on ideas to try and finish them off which can be welcome for some producers. It’s a buzz when you start with a blank canvas and by the end of a session you have something that didn’t exist a few hours earlier. I’ve stayed in touch with Okzharp since we first played with him at Wifey in 2012 and we got in the studio last year a few times (there should be something hopefully coming from us in the near future).
2015’s been big for you both so far, with both the Swing Ting label and night really popping off. What can we expect from Samrai and Platt to close out such a massive year? Platt: “The Madd Again! album is out on September 11th and is by far the biggest project we’ve dealt with to date. We’ve got the debut EP from very exciting artist coming out before the year ends and a number of shows popping up around the country and beyond. Of course Swing Ting is still happening every 3rd Saturday of the month at Soup Kitchen and that remains the best way to see what we’re all about.”
Equiknoxx Music ft. Alozade, Kemikal & Chico – The Link (Swing Ting Dub)
Marcy Chin ft. Kunley – Badder Dan Dem
Federation Sound – Highlands Riddim
Wizkid, Davido, Ice Prince, and Fuse ODG – Freak of the Week
Ty Dolla $ign, Nef The Pharaoh & YG – Big Tymin’ (Remix)
Busy Signal – Tamara (Swing Ting Smooth mix)
Gappy Ranks & Kush Arora – Anything A Anything (Swing Ting Remix)
Madd Again! – Flaunt It
Good Good Production – Liquor Riddim
Mr Vegas – Can’t stop your blessing
Beenie Man – Jamaica
Edanos ft. Timaya – Whine For Me
Destra – Dip & Ride
Sekon Sta – Night Shift
Florentino – Domina
Dre Skull – Blacklight Riddim
I Octane – Fire Dancer (Kush Arora’s Bhang Ragga Mix)
Murlo – Lanced
Fox ft. Puppy Disco – I Swear
Famous Eno ft. A-Game, Serocee & Fox – Gangsters
Platt – Desert Storm
Major Notes ft. Bryte – Money Problems
Okzharp & Samrai – Gated
Samrai & Platt ft. Trigganom – One Step
Murlo – Furnace
Madd Again! ft. Dj Q – Tings are so hard
Samrai, Platt & Kemikal – Tease Me
Words by Tayyab Amin, 10 September 2015. Leave a comment
We usually shutter to ascertain authenticity in music, but Retch’s rap is such that his ability to seamlessly integrate his incriminating extra-curriculars into it makes it most tantalizing as a square outsider looking in. Among the preeminent rappers actively occupying the classically-oriented street narrative stratum, like the more popular Roc Marciano, Black Milk, and Meyhem Lauren, Retch’s stock is steeply rising as a story teller and his trajectory from East Coast upstart to West Coast-based Action Bronson- and Ab-Soul-collaborator can be traced from tape to tape. There’s certainly proof in Retch’s pudding, and those who follow him on social media (for what that’s worth) can attest to how empirical his persona is. Further, what makes his music even more alluring is the vivid first-person perspective he habitually offers up about a geography we really haven’t been able to learn much about through hip-hop, not that it ends up being much different from what we’ve heard since Mobb Deep at their most disgruntled. We find Retch better because of that.
It’s easy to classify the Hackensack, New Jersey bred artist when he’s at his best: loop-based, boombap imagery. He’d argue for his stylistic dexterity across his three major projects to date, and he wouldn’t necessarily be obtuse in doing so. One would find anything from hook-predicated hi-hat turn-ups to geographically-influenced, Ferg-esque syllabic shapes on his first notable project, 2013’s home-brewed Delinquents & Degenerates. Aside from that, historically, Retch has come off as New York as you can get, down to the eighth note hi-hat and animated couplets that Ghostface (and, by extension, Action Bronson) may have considered at one point. With this supposed geographically induced method in mind, a watershed moment for the rapper occurred when he released Polo Sporting Goods jointly with Thelonious Martin, the Chicago based producer who also called New Jersey home and whose crackling, Madlib-channeling beats had an equal part in making the mixtape the attention-calling project it became shortly after its release earlier last year. Finesse The World is here now, and what the elusive articulator does with verbs and nouns is much less “Porsche cruising in fall weather” and more “have ‘em do you for like 50 percs and like 10 valiums”.
With Finesse, Retch’s knack for animated story telling acts as a jumping-off point from his most high-profile material (most of which is encompassed by Polo Sporting Goods), though what we get here from the rapper – who has lazily been labeled as New Jersey’s Joey Bada$$ – is yet another exhibition of his resistance to being boxed in. It becomes clear from the album opener that he pulls it off once more, this time round by toning down his mischievous color and instead espousing the straight-up cement-textured gully that is admittedly missing from the aforementioned milieu of artists who have at one point been placed in the vicinity of Retch in our theoretical East Coast venn diagram. Who he has surrounded himself with for production duties (H.N.I.C., A$AP P On The Boards, a grimmer Thelonious Martin) seems to have also been a conscious decision for the sake of embellishing what he does lyrically. What’s more obvious is the snarling timbre that he takes up for the entirety of Finesse; it’s a strenuously angry delivery that virtually leaves the listener wiping spit off their face after every phrase. It’s almost as if these verses provided some catharsis for Retch – insofar as they are ultra-incriminating. As such, tracks are predicated on personal recaps of how he has been able to eek his way through the underground devoid of much of a rap cheque and how his fast money covenant that he relies on has proven to be sustaining. The possibility of double-crossers or jail time notwithstanding.
Finesse The World is out now on FastMoney.
Whilst quality over quantity usually reigns supreme, at the end of the day, what’s wrong with doing both? Putting out ten records in the space of one year in 2011, Deep Space Orchestra found themselves in the fortunate position of sitting on a large amount of built up unreleased music, with a variety of label owners wanting to release it. The result; their eventual break out and a discography of beautifully produced house music spanning labels such as Delusions Of Grandeur, Quintessentials and Fly By Night Music. If you want to dip back through their catalogue we highly recommend checking out tracks such as Sir Shina and Lo Pan as a little starting point.
In the last three years, we know for sure they’ve been working on at least two things. One – putting out music from an array of fellow producers on their own label, Use Of Weapons – and two – working on their debut LP for said label. Entitled Memory, they’ve described the album as being their most complete project to date and largely being born from a collection of gear they bought with a view to start playing live. The full album release date comes towards the end of September but in the meantime they’re dropping a 12″ sampler on the 7th as a little taster. Featuring two tracks from the LP, the sampler also comes backed with two wonderfully picked remixes from Neville Watson and Lord Of The Isles, the latter we’re able to exclusively premiere on Truants today. Prepare yourself for a long melodic breakdown.
Words by Riccardo Villella, 20 August 2015. Leave a comment