free dwnld - www.dropbox.com/s/38f4nfg68dlftda…-WORK%29.wav?dl=0

Andrea True Connection - More More More (Vova Potapenko edit)

Preview tracks from the new Quentin Quatro single QUATROPHONIC on Insect Queen Music, the new label from URSULA 1000. Featuring remixes by Cole Medina, Virgin Magnetic Material, The Gemini Bros and Discofari. Mastered by Tom Psychemagik!

QUENTIN QUATRO-QUATROPHONIC EP
on INSECT QUEEN MUSIC (IQ002)
Vinyl 12″ 
Digital EP 
Distributed through INgrooves and Crosstalk International

Juno Digital http://www.junodownload.com/products/quentin-quatro-quatrophonic/2455607-02/
iTunes https://itunes.apple.com/us/album/quatrophonic/id834047084
Beatport http://www.beatport.com/release/quatrophonic/1261761

Vinyl http://www.crosstalkintl.com/node/43516

Quentin Quatro-Quatrophonic EP Preview

SWS003 - Kermit Leveridge & The Super Weird Society 'I Wanna Be Your Dog', the third release on the new Super Weird Substance label - release date July 17th 2015. 

Vinyl & Digital available here: http://bit.ly/SWS-003
Compilation CD available here: http://bit.ly/SWS-CD001

This is the Greg Wilson & Peza instrumental mix, you can hear the radio version on YouTube: www.youtube.com/watch?v=KzaVDG8DMOo

Touching on punk territory as early as 1969, The Stooges’ 'I Wanna Be Your Dog' captured the beginnings of the transformation from the optimistic sixties to the disaffected seventies and laid the foundations for the next generation’s sound. Raw and simplistic, yet extremely powerful - it’s incredible to think that this song has been around for forty-six years.

The idea to bring the proto-punk classic into the now with a dance version - aimed at festival audiences as well as the clubs - was one of those crazy notions that somehow works out perfectly, given the right ingredients that is. Kermit was initially skeptical of the idea but once he heard the framework of the reimagined version, he quickly signed up to the idiosyncratic vision and took on the Iggy Pop role with aplomb.

This is the first solo release by Kermit Leveridge of Blind Arcade, one of Manchester’s true groove innovators; helping give the city - and the country for that matter - one of its first breakdancing crews, Broken Glass before becoming a member of one the UK’s most influential hip hop acts, the Ruthless Rap Assassins, then eventually hooking up with Happy Monday Shaun Ryder to form the chart topping Black Grape, who’ve recently reformed for an anniversary tour.

Kermit’s heroin addiction may have taken him to the brink of self- destruction but during recent years he’s been a redeemed man on an artistic mission. This newfound outlook helped yield last year’s mixtape 'Blind Arcade Meets Super Weird Substance In The Morphogenetic Field', regenerating his association with Greg Wilson, who had previously managed Broken Glass and the Rap Assassins, who he also produced.

On the back of a whole series of quality reworks, including Blind Arcade’s The Construct, Wolverhampton based DJ and musician Peza was brought into the mix and has done a great job with programming / keyboards, whilst Greg’s son, Ché Wilson plays a mean guitar, summoning the raw energy of punk’s past in a furious solo courtesy of a Cort X-6 guitar given to Kermit by Joe Strummer - and, by adding their deadpan backing vocals to the fray, The Reynolds tie the track together perfectly.

Check out our Super Weird sounds at: https://superweirdsubstance.bandcamp.com
Stay up to date with the latest at: http://www.superweirdsubstance.com

Kermit Leveridge & The Super Weird Society 'I Wanna Be Your Dog' - Greg Wilson & Peza Inst Mix

After being challenged by my Mom to create a beat she would understand, I came up with this sort of organic remix of Bach. 
DM me if you'd like to connect

Bachophilia I

Andy Beta - MTV:

Quiet Village, the duo of Joel Martin and Matt Edwards (who hails from Radio Slave), set Ferry’s “Me Oh My” amid dense jungle foliage. While their collection of edits released a few years ago on K7, Silent Movie, found them in a playful mode, their remix work since then has truly taken on the exotic spirit of their moniker. Like their drastic reconfiguring of Allez Allez’s “African Queen” or Bubble Club’s “The Goddess,” Martin and Edwards strip and slow everything down, past the slink and forced pan-culturalism of most downtempo fare, into something verging on the ritualistic. They take it to tantric lengths of ten minutes or more, fully allowing that slow heart of darkness throb of it all to overtake the space and cast its spell.

A massive hand drum figure thunders unhurriedly. Slowly, other sonic components crawl to life around it. Flutes trill like tropical birds, a crash cymbal sizzles to life, a synthesized drone that stays in the shadows but can still be felt. “Me Oh My” is a study in restraint, and each time it pressurizes to the point that release must surely come, Quiet Village recedes back into the fronds for fifteen transportive minutes. Bryan Ferry’s telltale coo echoes in the distance and then suddenly that seductive whisper is near your ears, not on a distant plateau, saying: “Can’t you hear my beating heart go in and out of time.”

Me Oh My (Quiet Village Remix)

Out Now!
Juno
Phonica

"Unknown Sea" Ep

A1. Lilt
A2. Simple Dreams
B. Unknown Sea 


Social Disco Club - Unknown Sea [Hands of Time]

Mavis feat. Candi Staton - Revolution ( Darkstarr Remix )

Lambada

War (a Discobody better way)

Norman Whitfield & Barrett Strong wrote the anti-Vietnam war protest song “War” in 1969 for the Motown artists The Temptations. But as Motown was worried about how the Temptations fans might receive such a political theme track, Whitfield re-recorded it with Edwin Starr on vocals. Starr’s intense rendition rocketed to #1 on the U.S Pop chart in 1970 and remained there for three weeks becoming his signature track and the most popular protest song ever recorded.

Frankie Goes To Hollywood revamped it on their 1984 multi-platinum debut album “Welcome To The Pleasuredome” produced by Trevor Horn. Their take is superbly electro-funk flavored though it lacks Edwin’s dramatic performance.

On this mix I reconstruct Frankies version adding Starr’s vocals and infusing it with extra rhythms and lots of twists. War’s aggressiveness and Hope’s better-way are described thru the rough bangin’ beats and the dubby groovy sound. 
Enjoy!

This mix lyrics:

“Listen to me

Ohhh, war, I despise
Because it means destruction
Of innocent lives
They say we must fight to keep our freedom
But Lord knows there's got to be a better way

War means tears
To thousands of mothers eyes
When their sons go to fight
And lose their lives
Ooooh, war
It's an enemy to all mankind
The point of war blows my mind

War, whoa, yeah
What is it good for
Nothing, nothing, nothing

There's got to be a better way
Yeah, better way
Yeah, nothing, nothing

War!!

Good God y’all!
Stand up & shout it
Stand up & shout it
Ooooh Lord
War!
What is it good for?
Absolutely nothing
Stand up & shout it
Good God now..

Listen to me
War can't give life
War can't give life, life
War can't give life 
War, war, has shattered
Many a young mans dreams
Made him disabled, bitter and mean

War can't give life
War can't give life, life
War can't give life
It can only, only 
War can only, only
Take it away

Look out
It ain’t nothing but a heartbreaker 
Nothing but a heartbreak 
It ain’t nothing but a heartbreak..
It ain’t nothing but a heartbreaker 
Nothing but a heartbreak 
Friend only to the undertaker

There’s got to be a better way!

Yeah, aha yeah
Say it again
What is it good for?
Nothing, nothing
Good God y’all
I say it again
Ooooh Lord
What is it good for?
God, Good God y’all
I say War!
What is it good for?
I say it again
Ooooh Lord, ooooh
I say it again
Ooooh Lord, 
What is it good for? Ooooh
Nothing

War has caused unrest
Among the younger generation
Induction then destruction
Who wants to die?

War 
What is it good for?
Absolutely nothing

War-huh
What is it good for?
Absolutely nothing
Say it again 
War-huh
What is it good for?
Absolutely nothing, nothing
Listen to me

It's an enemy of all mankind
No point of war
'cos you're a man
War means tears
To thousands of mothers how
When their sons go off to fight
And lose their lives

I said
War-huh
War!
What is it good for?
Absolutely nothing

War!!

Say it again y’all
War has shattered
Many young men's dreams
They've got no place for them today
They say we must fight to keep our freedom
But lord, there's just got to be a better way

Peace, love and understanding, tell me
Peace, love and understanding, you tell ‘em
Peace, love and understanding, say it
Peace, love and understanding
There's got to be a better way-yeah
There's got to be a better way
Better way
Got to be a better way…
OooooLord!!”

War (a Discobody better way)

Leng Records’ first album release of 2020 comes courtesy of two contrasting legends of Italian dance music, Afro-Cosmic pioneer Daniele Baldelli and sometime FPI Project member Marco Fratty (real name Marco Frattini).

Both producers have a wealth of experience. Baldelli first to rose to fame as resident DJ at the near mythical Cosmic Club in the early 1980s, before moving into music production two decades ago. Since then, he’s collaborated with heaps of producers – most notably DJ Rocca, Marco Dionigi and Dario Piana – but “Oil Painting” marks his first collaboration with Frattini, an experienced producer whose bustling discography stretches right back to the Italian house explosion of the late 1980s and early ’90s.

The pair’s debut collaborative release is bold, bubbly, vibrant and funky, with the storied Italian veterans making extensive use of live instrumentation, vintage synthesizers and chugging, floor-friendly grooves. As you’d expect from a Baldelli-related project, the influences are obvious – think funk, dub-disco, cosmic rock, Italo-disco and nu-disco – but the resulting colourful cuts refuse to settle on one specific style.

Firmly focused on the dancefloor, “Oil Painting” is a gleeful, celebratory and excitable as anything either producer has released to date. For proof, check the surging arpeggio style synth-bass, kaleidoscopic synthesizer lines and eyes-closed rock guitar solos of “Automatic Amplitude”, the flute-laden dub disco shuffle of “Jasmine Flavour”, the organ-laden cosmic funk chug of “Oil Painting” and the lolloping disco-funk exuberance of “Steam Engine”, where crunchy guitar licks and Meters style organ stabs wrap themselves around a vintage disco bassline and head-nodding, toe-tapping drums.

The highlights don’t stop there, either. The percussion and delay-laden Afro-Cosmic funk fusion of “Slinky Funk” is a veritably tropical excursion that repurposes the bassline and incessant cowbells from Cymande classic “Bra”, and the Clavinet-heavy stomp of “Positive Flow”, whose snaking, constantly-changing saxophone solo and flash-fried guitar riffs helps create a thrillingly excitable mood.

From start to finish, “Oil Painting” is an album full to bursting with musical joy and umpteen giddy calls towards the dancefloor. From producers of Baldelli and Frattini’s experience, we’d expect nothing less.

Lambada

workstrom