The extended remix package of Abel’s ‘Hand Made’ (feat. BRUTHA BASIL) is a must-have, showcasing not just the vibrant Original version but also exciting new interpretations from ROCCO RODAMAAL, SOUTH BEACH RECYCLING, and PEACEY.
12″ Vinyl Now Available: >HERE<
Each remix brings a distinct flavour, from Rocco’s nostalgic New York bounce to Peacey’s polished aesthetic and Gary’s Detroit-infused groove, ensuring the tracks are versatile enough to enhance any deep-house set.
“Extra! Extra! Read all about it!”. 21 years after his massive broken beat slammer ‘SERVE IT UP (FEAT. CAPITOL A.)’ The Jerk-Beat Master ‘Clyde Beats’ returns with his new long player.
Just when you thought it was safe to play conscientious hip hop, Clyde Beats and ‘Hello World (feat. OVEOUS)’ comes along.
The release is a masterful blend of contrasting elements, with OVEOUS’ spiritual and uplifting lyrics served up over the dark, aggressive beats of Clyde Beats. The result is a sonic experience that’s both powerful and thought-provoking, with the two artists coming together to create a unique sound that’s both hard-hitting and inspiring.
Described by some as a renaissance artist, OVEOUS is a true street poet, singer, rapper, DJ and producer and the superlative rhymes he lays over Clyde Beats’ dark, yet high-end production is going to drive you to visit any leading music streaming or download service now.
Peacey’s debut album ‘Play It By Ear’ is available worldwide on all digital platforms.
It might be his debut album, yet Peacey’s “Play It By Ear” is a body of work crafted as though by a scholar. And where better for this work to emerge from than Derby, UK’s Atjazz Record Company, a label with a rich heritage and many strings to its bow?
This eclectic sonic journal catalogues the evolution of Peacey, documenting his interactions with, and influences from, some of dance music’s notable players. It’s an album that will attract discerning ears and open minds; minds attuned to a multitude of genres as it visits Hip Hop, Nu-Soul, House, Garage, Boogie and Fusion.
As well as the expanse of influences it draws on, “Play It By Ear” presents its distinctive characteristics: accomplished songwriting, skilful production and heartfelt performances from all. The clear drive to propel dance music is evident throughout. Not only are the songwriting and performances legendary, but the whole album drips with rich production, thanks to the use of vintage mics, classic synths, Rhodes Piano and plenty of live instrumentation.
During the profound journey of creating this album, Peacey contemplates how the primary motivation for this work stemmed from a need to find solace from deep emotional upheavals he experienced. “This album will never be finished, but I’ve learnt to let go. And what better way than to start writing and exploring your emotions through songs?” mused Peacey.
The listening experience begins with the eponymously named ‘Play It By Ear’. Like an orchestra tuning its instruments, the mood is set and the production ethic established; the horns are introduced and emotions are ramped. We now embark on our first vocal track: ‘Love in the Forest feat. OVEOUS’ is street poetry exploring the merits of love, bringing along the essence of New York. Peacey is then joined by labelmates Clyde and Atjazz for ‘Hold Me Back’. Co-written and sung by Clyde, it’s an organic yet polished bumpy dancefloor cut, topped and tailed with horns by Toronto-based Octavio N. Santos. It’s also his album debut single, so watch this space!
The album features outstanding vocal talents and Rona Ray is but one. She performs over Peacey’s infectious mid-pace hook for ‘Playground’, another of the album’s singles. Vanessa Hidary’s masterful and sometimes manic spoken word performance is complemented by live percussion that drives the mood of ‘Culture Bandit’. If the drums of ‘Falling Down’ don’t make your day, then the soulfully delivered vocals of labelmate Sarai Jazz will. Relaxed? Well, don’t lose your focus because Sabrina Chyld ushers in another wonderful 4×4 tune, and her soulful delivery yearns us to ‘Find a Way’.
‘Dear Uncle Tim’ pays homage to the inspiration behind this album. This man introduced a young Peacey to electronic music! So sit back and absorb the ethos that radiates from this incredibly expressive piece of music. Although the album is drawing to its close, it’s still ‘Runnin’, thanks once more to Sabrina Chyld. What a vocal, and what a bassline. And over the next offering, lush percussive layers and synths invite Emilie Chick to lay her smooth vocal tone delivery over ‘Don’t Send Us Back’?
A wonderful world of sound exploration opens up as each moment passes. Rhodes and Soprano Sax float effortlessly over Jorge’s impeccable Percussion arrangement and low tonal vocals chants.
A firm favourite with ST GERMAIN, Atjazz’s re-work is an honest continuation of the original song with that definitive Atjazz styling. Depthy and steeped in soul, the combination of Jorge & Martin on this release is as concrete as you’ll get.
This Grammy Award-winning Musician has worked alongside many great artists throughout his career, notably on Ludovic Navarre’s ST GERMAIN project, on stage with the wonderful Melody Gardot and as an integral member of the JOE ZAWINUL Syndicate that allowed him to share the stage with other greats, such as HERBIE HANCOCK, CARLOS SANTANA and BOBBY MCFERRIN. Recently, Jorge has reached even deeper into the realm of Electronic Music as he lends his talent to projects with Boddhi Satva, Atjazz and on this particular release, the brilliant ZEPHERIN SAINT who has remixed Mojubá into the spiritual world of percussive deep-house.
“Extra! Extra! Read all about it!”. 21 years after his massive broken beat slammer ‘SERVE IT UP (FEAT. CAPITOL A.)’ The Jerk-Beat Master ‘Clyde Beats’ returns with his new long player.
Stepping back into the future, ‘Rising Up (feat. ‘Amalia’)’ is Clyde Beats’ premier single from his new album ‘Hyper Reality 2 (An English Gentleman)’.
As the title suggests, ‘Rising Up’ documents a quest for positive living. Amalia’s sassy delivery complements Clyde Beats’ somewhat retro hip-hop production incredibly well. The result is a rewarding tune you’ll want to turn up loud and play on repeat.
From a boom-bap-type beat, a TB303 riff and a very 80s-sounding bassline, live horns by Clyde Beats’ long-time collaborator, ‘Octavio N. Santos’, juxtapose this very feel-good tune.
“Having followed Amalia’s astounding career, the opportunity to work with her was an appealing one, to say the least”, mused Clyde Beats. “With many of my musical values hailing from the early 90s, I thought ‘Amalia’ and I could revisit that era together. I’m delighted I invited her because her performance is simply outstanding. This is a tune I’m very proud to release”, he concluded.
Come and join us for a pre-album release listening with Peacey & Atjazz in the house. Talking all things album production and how it feels for an artist to release a debut long player. Questions are welcomed in the chat, and please note, do make sure you’re logged into your Bandcamp account so you can join the chat. :)
• https://peaceyvibes.bandcamp.com/merch/play-it-by-ear-listening-party
This Grammy Award-winning Musician has worked alongside many great artists throughout his career, notably on Ludovic Navarre’s ST GERMAIN project, on stage with the wonderful Melody Gardot and as an integral member of the JOE ZAWINUL Syndicate that allowed him to share the stage with other greats, such as HERBIE HANCOCK, CARLOS SANTANA and BOBBY MCFERRIN. Recently, Jorge has reached even deeper into the realm of Electronic Music as he lends his talent to projects with Boddhi Satva, Atjazz and on this particular release, the brilliant ZEPHERIN SAINT who has remixed Mojubá into the spiritual world of percussive deep-house.
No.3 in a series of sample packs for those producers who like that one-shot approach to producing modern music. Easy to drop into any DAW Sampler or channel and ready to work into your productions right away. This pack concentrates on the original deep house sound of the late 1990s / early 2000s where deep warm & fuzzy 7th & 9th chords were the emotional core of the scene’s sound. Deep Kicks with that 40hz bump, soft hats, sharp cymbals and additional percussion loops help to get the ball rolling. Look out for the 5 Starter Block Beats from Atjazz too, these can be mixed and matched in their tempo range to create your very own beat textures.
What do you get?
• 386.6mb (297mb Zipped
• 297.3mb
• 269 Files
• 21x Additional Loops Percussion to add to your productions (120bpm)
• 84x Chords (Major / Minor 7ths & 9ths)
• 22 Drum High (Hats / Cymbals)
• 24x Drum Low (Kicks)
• 28x Drum Mid (Snares / Claps, Clicks & Percussion)
• 12x Notes (High House Strings & Tubular Log Bass Notes)
• 5x Starter Block Beats inc. Stems (120bpm & 90bpm – 40 Files Total)
• 17x Starter Block Modular Sequences (Short Sequences to get you started)
• 3x Textures & Overalys (Cassette Noise & Vinyl Fudge)
• 18x Transitions & Effects (Analogue space effects & Reverse Sweeps)
Known to many as a Bass Player, to others as a Downtempo Producer and to increasingly more as an Orchestral Composer, Ross Hillard is a Leicestershire, UK native. He releases music under the alias of Magic Number and is celebrating the release of his new album, ‘Badly Written Songs’, available now on Atjazz Record Company.
Ross Hillard first appeared laying down incredibly accomplished bass performances on releases through Derby, UK label, Mantis Recordings. These included tracks on Atjazz albums, and he also provided his talent further afield, appearing on releases on Sonar Kollektiv, Stereo Deluxe, and Flower Records, to name just some.
Around the early noughties, Magic Number dropped the acclaimed debut album ‘That Day’, also through the eminent Mantis Recordings label. A string of singles followed, including ‘That Day’, ‘Sorry’ and ‘Fly Away’. With the “That Day’ album making a transition to Numb Records, and following a reprise featuring remixes from Atjazz in 2013, the Magic Number project seemingly took a hiatus. However, the man behind the project was busier than ever honing his skills. His bass playing, production and engineering capabilities can be heard on releases by Louie Vega, DJ Spen, N’dinga Gaba, Lay-Far and Atjazz, the founder of Mantis Recordings and the eponymously named label behind the new Magic Number release. Ross has also provided bass to Atjazz and Kerri Chandler live sets, pleasing countless crowds across the globe.
Ross opened Paddocks Recording Studios, an impressive setup boasting huge live spaces and cutting-edge technology, integrated with a distinguished array of analogue kit. The studio space features an incredible collection of synthesisers and outboard kit. There’s also a concert grand piano and a fully-restored vintage Raindirk mixing desk. Ross has also developed a superb range of audio plugins using this facility.
And so, Ross’s non-stop musical work, in tandem with his evolving jazz composition skills, brings us to the more sophisticated rebirth of Magic Number: ‘Badly Written Songs” comprises a carefully structured and well-produced array of songwriting, topped with live instrumentation, commanding vocal performances and high-end production. The opening track, being the first single from this album, is the positively-anthemic gem entitled ‘Good Morning Sunshine’. It tells a forward-looking story promoting the merits of getting back into the driving seat of life. It is propelled further by superb jazz-inspired drums and live horns that build up to an exhilarating crescendo. Featuring the vocal talents of Sophia Marshall, the story she paints is supported by a wonderful, darkly humorous cartoon video. An animated cadaver hilariously acts out her notions of positive living.
On the album’s title, Ross explained: “The title is a tongue-in-cheek reference to how transient electronic music can be. Thus, writing songs in this genre might not have been the most sensible and sustainable idea”, he laughs. “But I love house music, so it was worth it. I just hope people don’t discard it too soon. And if they do, well, we had great fun and a great journey producing it”, he concluded.
Check out Ross’ 1st album: That Day
