As promised in Sunday's gig review, here's some more from Ink Project and Coreysan.
Multi-instrumentalist, producer and Blind Colour label head Jez Lloyd has been performing and releasing music as Ink Project for over a decade, initially with Melanie Dymond, with debut album Inside The Sun emerging at the end of 2011. Third album Rhythm Spirit was released in 2021.
Coreysan
aka Corey Atheleny Wallace first collaborated with Jez in 2016, but has
been around the block a few times himself, born in Trinidad and
travelling the world with Calypso Rose's touring band (don't blink and you'll catch him stage right at Coachella in 2019). Relocating to Bristol, Corey has also played bass with 10-piece "UK Afrobeat behemoth" Matuki (as you can see here). He also found time for his debut solo album, Deeper Than Skin, in 2020.
Another long-time Ink Project collaborator is Fifi Rong, who delivers Rhythm Spirit's closing track The End. Fifi's amassed a formidable collection of solo releases too, which are worth a sidestep to Bandcamp for.
Another
(surprise) performer on The Sub Rooms stage after Ink Project's set,
joining headliners African Head Charge, was Italian dub legend Gaudi. He's got history with Jez and Corey, having remixed their 2021 single Feeding The Fire.
Ink Project gave a blistering performance of Feeding The Fire on the night.
A trio of archive Ink Project remixes to wrap up, from Coreysan himself, Seahawks and lastly Talk In Colour, who offer an interesting take on Jez and Melanie's adaptation of a Blondie classic.
Of course, the final word (and today's post title) has to go to the Guv'nor, Andrew Weatherall, who was on the case with Coreysan years ago...
African Head Charge playing a gig in a town set in the Cotswolds Hills seems the stuff of fantasy. Yet, it wasn't a fever dream and I was one of a few (hundred) lucky people that got to experience Bonjo Iyabinghi Noah and his merry band live and direct at The Subscription Rooms in Stroud on Saturday 12th October.
The Sub Rooms, as it's more commonly known, has fast become a favourite venue, not just for it's proximity or free parking nearby, but it's a lovely building with a external grandeur that surprises with the almost village hall layout of the performance space.
Most of all though, there's been a positive, embracing vibe at every gig I've seen there and, if anything, even more so when the headliners came on.
I'll mention the support first, though relatively briefly as I'm going to post more about them next week. I'd never heard of the Ink Project collective formed by Jez Lloyd before now, but my curiosity was well and truly piqued by an energetic set, that got the early arrivals shuffling approvingly.
Jez was joined on stage by Coreysan aka Bristol-based singer songwriter Corey Atheleny Wallace, crammed into a space about three square metres left of African Head Charge's set up. Boy, did they make the most of it!
Jez was switching between instruments, Corey was dropping to the floor and springing back up and throwing all kinds of shapes. Feeding The Fire, a collaborative single from 2011, was a highlight, although it was an exhilarating ride from start to finish.
Ending with a David Bowie cover may not seem unusual as of itself. However, the choice of song was. I'm Deranged was written with Brian Eno for 1995's album 1. Outside and has rarely been covered. Suffice to say, it was a delight, not least to hear Corey's vocals soar. An epic ending to an uplifting performance.
After a break of roughly the same length as Ink Project's 30-minute set, it was time for the main event. The band came on, one by one and took their positions and...hang on a minute, was that Gaudi bringing up the rear?! It sure was! A surprise and a delight, to say the least.
The band eased into a groove for a few minutes and then Bonjo Iyabinghi Noah came onstage to rapturous applause. A sign of the times - and the passage of time - but this was the third gig this year where one of the lead musicians had required a walking stick to assist. Once positioned behind the twin drums that gave the man born Burnell Ralston Anderson his performing name however, and there was no holding back.
"Good evening..." started Bonjo Iyabinghi Noah, before a pause and a glance to his fellow musicians on his left. "STROUD!" the audience heartily finished for him. What did it matter if he'd forgotten which town he was playing in tonight? He was here! With African Head Charge! And Gaudi!
I've been a fan of African Head Charge for a very long time, I've enjoyed their experimental material as much as their more accessible music, 'accessible' by no means meaning 'conventional' or 'safe'. 2023 'comeback' album A Trip To Bolgatanga was a stunning return. So, I was going to be a happy chappy whatever was played.
Even so, it was something of a surprise that this was a vocal-heavy, uptempo selection, bursting with joy and - dare I say it? - as 'poppy' as African Head Charge were ever going to get. I was dancing (well, my approximation of it anyway - lots of energy, little coordination) from start to finish, pausing only to clap and cheer my appreciation.
"Yaaah maaan!" was the common call-and-response bridge between songs, Bonjo Iyabinghi Noah himself perhaps taken aback by the sheer energy and love emanating from the crowd (by then including Coreysan, getting in the groove a few metres from me).
I can't tell you precisely what was played and sadly there's no Setlist update from the Stroud or Exeter gig the previous evening to fall back on. But I recall a few.
Bonjo came on stage to Run Come See Me, originally released as a limited edition single in 1993 and eventually more widely released on 2005 album Vision Of A Psychedelic Africa.
Stebeni's Theme, one of the first songs I heard by AHC in the early 1980s and a lifetime favourite, was performed near the end in an uptempo version, fizzing with joyous energy.
There were tracks from A Trip To Bolgatanga, and deeper cuts too. At least, I think so. My head was bursting with thoughts and happy memories so that the song details were being lost even as I made the short walk back to the car.
Apart from a stern word from the guitar player, asking the front row not to leave their drinks on the stage after a number of tips and spills - hello guys, liquid and electrcity?! - the mood was up, up, up for nearly two hours. Then finally, sadly, it was time to say goodbye and goodnight.
I'm still pinching myself, as it's hard to believe that this actually happened. What a fantastic night.
Even without a record of the setlist from last Saturday, this post would be incomplete without a Dubhed selection. What I've created then is a 12-track playlist of rhythmically uplifting and vocal driven songs, spanning 1981 to 2023. Many of these will have been played on the night, some won't, either way I think it hints at the joy and energy of the show itself. Enjoy!
1) Run Come See Me (Single Version) (1993)
2) Drumming Is A Language (2005)
3) Asalatua (2022)
4) My God (1990)
5) One Love, One Heart (Version) (1993)
6) Hymn (Remix) (1994)
7) High Protein Snack (1982)
8) This And That And The Other (2011)
9) Heading To Glory (1993)
10) Dub For The Spirits (1990)
11) Stebeni's Theme (Cover of traditional song) (1981)
12) I'm A Winner (2023)
1981: My Life In A Hole In The Ground: 11
1982: Environmental Studies: 7
1990: Songs Of Praise: 4
1993: In Pursuit Of Shashamane Land (limited edition LP + 7"): 1, 9
Unexpected treats from EMF and Fluke, to get the weekend off to a great start.
I stumbled across this by accident whilst trawling the internet for something else entirely, but Gaudi and Don Letts have remixed EMF's calling card Unbelievable to frankly stunning effect.
The expletive-teasing, wailing guitar, keyboard-smashing original has been transformed into a downtempo, bassbin-shaking, rumbling, menacing monster that, at 4:30, is tantalisingly short and has had me putting it on a loop just to keep letting it wash over me. A remarkable transformation.
Speaking of remarkable, one of 2024's most joyous moments was Fluke returning out of the blue with the brilliant and wonderful Insanely Beautiful, in a variety of pulse-quickening versions.
Having set the bar so high, the surprise drop of second comeback single Real Magnificent on Friday proves beyond doubt that Jon Fugler and Mike Tournier are back and mean business.
I thought Insanely Beautiful was a triumphant return; Real Magnificent ups the ante even more and if this is the precursor to a full length album, then bloody hell, it'll be the one to beat in 2025...!
Getting Leah Cleaver on board was a masterstroke, her voice a perfect counter to Jon Fugler's vocals, especially so on Real Magnificent. I like the fact that the sound is unmistakably Fluke, without attempting to recreate Philly, Electric Guitar or Bullet, for example. This is the same band (well, two thirds of the original line-up) yet very much 21st century music.
Another set of top notch remixes, too. Another 'All Buttons In' remix by Fluke (is this a subtle reveal of an album title?), but whereas the ABI version of Insanely Beautiful was an instrumental, many of Jon's vocals are retained for Real Magnificent, Leah's ooohs and mmms swooping in and out of the mix, before coming back in for the chorus.
I would love to believe that the JC Remix is by the beloved genius behind The Vinyl Villain blog. However, I'm assuming it's actually Fluke's keeper of the flame Justin Credible, who has been posting unofficial, endorsed mixes on YouTube for severakl years. Either way, it's a banger.
sLEdger aka Robin Dallison is new to me, though on the strength of the remix and dub provided, someone I need to discover more about. The remix is a near nine minute dancefloor behemoth, whilst the dub ups the bass without compromising the beats. Both incredibly satisfying.
All five versions of Real Magnificent are available to purchase as individual tracks at a quid a pop, though you'd only be cheating yourself if you don't grab the whole lot.
For all of my enthusiasm and hyperbole though, the song's title provides it's own two word review: Real Magnificent.
Having missed the last Bandcamp Friday and with a stack of albums on my list, here's a random selection of singles and remixes that will also be going in the basket this Friday, having grabbed my attention these past few weeks and months.
First in is Iraina Mancini. With influences described as "60s/70s, French pop, psychedelia, soul, garage, Ye-Ye Girls and vintage cinema" and backed by Pete Paphides, the odds were stacked that I would like Iraina's album Undo The Blue and I do. Sugar High was issued as a single and video last year, backed with a wonderful remix by Saint Etienne. The latter was re-released at the end of March with a brand new remix of the album's title track by Richard Norris and Erol Alkan, reunited as Beyond The Wizards Sleeve. I've gone for the Saint Etienne remix here, but really you can't do without both (or the album).
Toby Tobias resurrected his Casinoboy alias last year after several releases in the late 2000s. I'm not familiar with his previous music, but the 4-track EP he's released on Italian label Duca Bianco hits a sweet spot of Balearica, breakbeats and a 90s-style rap that just about treads the line between Stereo MCs and 2 Unlimited (!) Infectious.
A third London-based artist, albeit born in Italy and influenced by Jamaica, is a favourite of this blog, Daniele Gaudi, teaming up here with fellow Italian 3-piece Savana Funk for a 2-track single, Raha b/w Orewa. This is Afro-Cosmic-Disco that is brimming with funk and designed to get you moving. It succeeds.
Deep down to Australia now and Sydney-based duo Rachel Rutt and Ryan Grieve aka Heart People. I was only previously familiar with them from an Andrew Weatherall remix of their 2017 song Voices, which led me back to the source EP, Homecoming, and it's dub companion. In December 2023, the pair returned with the Adriatica EP. Musically, it reminds me of Mick Karn's solo music from the 1980s, but Rachel's voice adds an extra dimension, particularly on the title song.
My last pick is some Czech rap courtesy of Prague-based duo Mutanti Hledaj Východisko, which Google reliably informs me translates as Mutants Search For The Exit. Fotbal is taken from the album Puma, which is frankly an astonishing and bewildering mix of samples, sounds and styles. And the best album cover of the last twelve months, no question.
Sorry, a bit later than usual posting this, due to a Clan K excursion last night and a bit of a lie-in this morning. A warning: this is a big one, you might need a Thermos flask and packed lunch to get you through.
Oh, this is difficult. Even trying to nail down some of my favourite versions - covers, remixes and reimaginings - of 2023 has proved to be an insurmountable task.
Therefore, I've picked out just 23 listed alphabetically by artist. Some I've been enjoying for many months, one in particular (The Woodentops) was a last minute addition, having belatedly discovered it via Swiss Adam's year end run down at Bagging Area.
Strap in, there's a wild ride ahead!
Jango Mango: Ademarr & Joseeph
EP released via Roam Recodings in July, featuring the original version plus standout remixes from Darlyn Vlys and Iñigo Vontier.
Tender (Cover of Blur): The Anchoress
For the past year or so, Catherine Anne Davies released a cover version per month, available for a limited time on Bandcamp. Many of them were subsequently collected for this year's excellent Versions album.
Tender, originally released in 2021, didn't make the album cut but it did get a physical release in April, as the third of a series of limited edition EPs. The EP has long since sold out and the song has vanished from t'internet. To give you a taste of how good it is/was, here's an extract (KF) (Mega).
Gorgeous, isn't it?
Njalo: Cee ElAssaad ft. Bongi Mvuyana
Morrocco meets South Africa with stunning results. Njalo has been burning a hole in my speakers since February and comes in three versions: the original full vocal, dub and instrumental; all superb.
Yeah x 3: David Holmes ft. Raven Violet
I could have picked any of David's singles, whether with Unloved or Raven Violet, as highlights of the year, to be honest. Yeah x 3 was released in November, with a diverse range of remixes from Panda Bear & Sonic Boom, Jordan Nocturne, X-Press 2 and a couple of beauties from Gary Irwin aka The Vendetta Suite.
I was down a specific Transglobal Underground rabbit hole, which led me to the Violins Against Bombs RMX album, featuring 10 reworks of the original 2022 album by TGU along with Fluo Sobre, Rafael Aragon, Dunkelbunt, MiRET and Recycler. Now available as a name your price/free download, so what have you got to lose?
Unchanged (GLOK Remix): Dot Allison
Dot Allison meets Andy Bell on a dub excursion that evokes yet avoids mimicking the majesty of One Dove. Released in June and a perfect companion piece to their respective releases this year.
Other Skies: Electric Blue Vision
As mentioned in yesterday's post, Sean Johnston and Duncan Gray have been on fire this year with standalone remixes and releases. However, when they come together as Hardway Bros Meet Monkton Uptown, the listener is in for a dub excursion par excellence.
Other Skies, the second single by Electric Blue Vision by Emilia Harmony and Jesse Fahnestock, broke cover in November, the sublime original also channeling the spirit of One Dove. The remixes took the song in wildly different directions, all worth the trip.
Confessions Of An Ageing Party Girl: Emily Breeze
A 2020 single and highlight of this year's Rapture album, March saw the release of a remix by Massive Attack's Daddy G (Grant Marshall) and Robot Club (Stew Jackson). Not available on Bandcamp but available through most of the usual places.
If you're a regular visitor to the essential music blog No Badger Required - and if you aren't, I urge you to start right now - then you'll have spotted that I referenced it over there as my track of 2023. Thanks, SWC!
Cello Song (Cover of Nick Drake): Fontaines D.C.
I was slow to listen to Fontaines D.C.'s second album Skinty Fia this year - my mistake - and to their singular take on the Nick Drake back in March. My fellow blog travellers have written about why this is the epitome of what a great cover version should be and they are absolutely spot on. If I heard this in complete ignorance, I'd think it was a stunning song. The fact that it may inspire listeners to check out not just Fontaines D.C. but Nick Drake can only be a good thing.
Cello Song features on the album The Endless Coloured Ways: The Songs Of Nick Drake, which I could easily have included in my list of favourite compilations yesterday.
Shakatak: Gaudi
Woah, come back. If you're worried that this March 2023 release is a tribute to the '80s white English jazz-funk band, rest assured. Daniele Gaudi delivers another colossal slice of dub, especially on the 'ReRub' version.
Pez (bdrmm Remix): GIFT
This all started with A Place To Bury Strangers, specifically their remix album See Through You Rerealized which featured separate remixes by GIFT and bdrmm. I wasn't familiar with either band and little trawl of Bandcamp unearthed their respective back catalogues. The two come together on this remix, released in August as a precursor to GIFT's debut album, Momentary Presence, a couple of months later. Check 'em all out.
Dirty Hugs (Richard Sen Remix): GLOK
The Pattern Recognition album got a 3-track remix EP in March, a great month for releases, in retrospect. Hardway Bros Meet Monkton Uptown and Tom Sharkett from W.H. Lung set the bar high but Richard Sen has no difficulty in holding his own and taking the original 20-minute trip on a wild chase through the city's nightlife.
A Night In Siolim (A Space Age Freak Out Remix): Högt I Tak
Paisley Dark Records have been a go-to with each release, not just for the high quality electronica but the calibre of remixes. Label boss John Paynter proves that you don't need to outsource to produce something quite special, as his Space Age Freak Out remix from December amply demonstrates.
I Am The Fly (Cover of Wire): Jah Wobble
The Wob made a raucous return (not that he's ever been away) with a slew of new albums in 2023, August's A Brief History Of Now revisiting his punk/post-punk stylings with fellow traveller Jon Klein. Their cover of Wire's I Am The Fly was an unexpected treat, Klein on vocals and Jah Wobble working his usual bass magic.
And, as a bonus treat, here's the man himself showing you how it's done (and yes, Mike, he is playing more than one string!)
Arabiklan (Rude Audio Remix): James Rod
Another top notch Paisley Dark remix package, this time in May, with an artist that I wasn't that familiar with. James Rod provides two classy originals with Synthetic Glory and Arabiklan, handing them over to Mindbender, Hunterbräu, Högt I Tak and Man2.0. Rude Audio aka Mark Ratcliff delivers a blinder.
Trading Places: Jezebell
I've written previously about Trading Places, issued as a pair of EPs in April, offering up 'daytime' and nighttime' versions. All excellent, but the 6PM version gets a special mention for the delightful cameo by Siouxsie Sioux, expertly woven in by Jesse Fahnestock and Darren Bell. Available as a name your price/free download.
Phoenix (Cover of The Cult): JIM
First off, apologies that I've completely forgotten which music blog introduced me to this cover version and JIM (Jim Baron) in general, as I doubt I would have found him or the rather lovely Love Makes Magic album otherwise. Originally issued in June, the 10-song album included this fine cover, swapping bollock rock for Balearic acoustica to brilliant effect.
Bridge To Heaven (Sonic Boom Bass Remix): John Massoni
Another chance discovery this year whilst searching for Sonic Boom related items was his collaboration with John Massoni on the 8-track EP, Think Of Me When You Hear Waves. A further Sonic Boom remix of Bridge To Heaven, stretching things even further to just under ten minutes, shimmered into view in August.
Willow's Song (Richard Norris Ritual Mix): Katy J Pearson
Katy J Pearson recorded a whole bunch of covers for The Wicker Man EP, released in October to celebrate the film of the same name's 50th anniversary. Katy had originally recorded Willow's Song as the closer of her 2022 album Sound Of The Morning and the Richard Norris remix came out in June this year. A strong contender for remix - and track - of the year and perfectly aligned with his own mighty dub workouts as Oracle Sounds.
Edge Of The Edge Dub (Adrian Sherwood 'Reset In Dub’ Version): Panda Bear & Sonic Boom
August - another solid month for great music - saw the third iteration of the Reset album, following the original and 'Songbook + Instrumentals' versions. Here, Adrian Sherwood puts the entire thing through a dub rinse which promises much and somehow manages even then to exceed expectations. Much as I love Noah Lennox and Pete Kember's collaboration, Reset In Dub takes the music to another plane of existence.
Expansions Dub (Cover of Lonnie Liston Smith & The Cosmic Echoes): Prince Fatty ft. Shniece McMenamin
Not the only cover version that Prince Fatty shared in 2023 though arguably one that I wasn't expecting at all. With Shniece on the mic and Fatty at the controls, the listener is in safe hands and the dub version feels even more like a big aural hug. Another August highlight.
Fitzroy Avenue (BFP Acid-Flex Mix By Bedford Falls Players): Warriors Of The Dystotheque ft. Joe Duggan
We're on the home stretch now with yet another Paisley Dark winner, going all the way back to March. This is a generous 8-track digital EP, with a bonus hidden ninth 'No Effects Vox' version, i.e. just Joe Duggan. Tons of great remixes by Mindbender, Högt I Tak, Hunterbräu, Ed Mahon, Jezebell and this one from the ever excellent Mark Cooper aka Bedford Falls Players.
Ride A Cloud (Coyote Remix): The Woodentops
The Woodentops released Ride A Cloud, with remixes by Coyote and Andres y Xavi, in June and somehow I managed to miss it completely. Thankfully, Swiss Adam to the rescue with his own end of year round up meant that I discovered this wonderful 3-tracker and it's ended up here just in time to wind things down after that marathon workout.
Tomorrow, I'll be trying hard to pick some more 2023 favourites. Heaven help me.
Dread Town featured on last year's Dreadzone Presents Dubwiser Volume Two, which also included Boundary, a collaboration with Italian dub maestro (and thereminist) Gaudi.
On Friday, Gaudi released a remix of Boundary, "adding a sexy dub-tech flavour to amplify the track’s positive heart and give it more of a dancefloor focus".
If that doesn't get your Monday off to a good start, maybe go back to bed and sleep it away.
Emily Capell's debut album Combat Frock is available here
Dreadzone Present Dubwizer Volume Two is available here
A very happy (though slightly belated) 60th birthday to Daniele Gaudi, born 12th July 1963.
Shakatak by Gaudi has been constantly in rotation at Casa K (or out and about) since it was released at the end of March.
The blurb from Dubmission Records pretty much tells you all you need to know:
Straight to the head of all bass warriors and sound system disciples,
Gaudi drops a killer new cut with two versions, both designed for moving
and grooving!
Shakatak version #1 is a militant steppa aimed straight at the dancefloor, with version #2 being all about half-tempo dub.
With one foot in the past and one in the future, Gaudi's old school
analogue attitude combines with his new school electronic approach to
make for one hell of a bass heavy sonic ride!
The video edit comes in at under 4 minutes, the full-length single version tips over the 6 minute mark and is essential, the bass threatening to punch a hole in your speakers at any moment, propelling the rhythm and music ever forward.
Gaudi's ReRub on the digital "flipside" takes it down a notch or two but is no slouch either. His long-time love of dub, electronica, analogue and dialogue comes together perfectly in these two versions.
Shakatak is available on Gaudi's Bandcamp site, along with over 60 back catalogue releases, including his debut solo album from 1991 and tributes to Ennio Morricone and The Smiths, the latter (and several other releases) showcasing his love of the theremin. Hearing the likes of Please, Please, Please Let Me Get What I Want with the instrument taking the place of the Manchester Racist is a unique experience.
I was peripherally aware of Daniele Gaudi from some of his remixes, but I didn't really start a deeper dive into his music until 2021, thanks to his stunning remix of Ital Orb (Iron Chair) by The Orb. I've since bought a couple of Gaudi's collaborations with The Orb, Youth and Pete Namlook as well as the mammoth Remixes 1995-2020 collection. The latter has gone up in price since I purchased it but £35 for 121 digital remixes works out at about 29p per track which I think is still excellent value, given the quality within.
If you're new to Gaudi though, start with Shakatak and you really can't go wrong.
Another Sunday dub excursion, with a generous helping of Rob Smith. Mad Professor and Prince Fatty, with a side serving of Adrian Sherwood, Youth and Gaudi.
1) Yak Dub: Alien Dread (2004)
2) Dub Mentality (Live @ Festimad Festival, Madrid, 2nd May 1998): Asian Dub Foundation (1998)
3) Free South Africa (Dub) (Remix By Lindel Lewis & Mad Professor): Benjamin Zephaniah (1983)
4) Bad Man (Dub By RSD aka Rob Smith): Horace Andy ft. Million Teeth (2013)
5) Ragga Muffin Style (Dub) (Remix By Rob Smith): Jah Stitch (2015)
6) North, East, West, South (Prince Fatty Dub): The Last Poets (2019)
7) Idi Amin Dub: Mad Professor & Prince Fatty (2015)
8) Afghani Dub (Version By Adrian Sherwood): The Mothmen (1981)
9) Kung Fu Battle Ina Brixton (Dub): Prince Fatty (2012)
