Swing n Bass maestro, film maker and Jack the Cad contributor Fizzy Gilespie, aka Max Golfar*, has made something a little bit different. We're all about showcasing the really interesting stuff, the innovative and the new, so this is a bit of a no-brainer.
Fizzy: This mix has been a project of mine I’ve been putting together for quite some time now. This is probably the longest I have spent on a mixtape before. The hardest part of it was finding the tunes - this is probably the most obscure and niche side of the Vintage Remix spectrum, even more so than Swing Drum’n’Bass.
I was initially turned on to this sound by the Catjam boys, so a big shoutout has to go them. Without those guys, I would not have discovered this sound. Dutty Moonshine & Extra Medium are also pushing this sound, so I implore you all to go and check these guys out. These are the people really trying to expand the scene into a new and unique sound. Anyway, I hope you enjoy the mix, it ain’t your typical Swing mixtape! ;-)
*Which is your favourite pic of Max? I think we might have to make the one in the Soundcloud embed his official byline pic...[Ed.]
Tally ho, you lot. Normally I like to keep this blog fairly lighthearted and try to avoid getting too political about things, but today is a bit different.
Below you'll see a short film made by one of our talented correspondents - Max - about the steady decline of club culture in the UK. I know that a lot of you are based overseas (bad luck), but the principals discussed in this film are pertinent to all big cities. The last few years have seen a number of famous and not so famous clubs close their doors in the face of heavy handed local authorities, outdated licensing laws and the predations of planning authorities. The club that this film focuses on, Passing Clouds, was the sort of venue that our scene relies upon. We're never going to be in a super-club like Fabric, which can rally the support of thousands of passionate followers. We need these open-minded venues to support our scene, which the mainstream are not going to back. In fact, Passing Clouds was one of London's top vintage remix venues - in my top five places to check if I wanted a last minute night out. Around the same time that PC closed its doors for the last time, another of vintage remix's first homes shut down, the Bedroom Bar. As Chris Tofu indicates in the film, the developers and incomers are not interested in preserving cultural hotspots if they can make more money by turning them into flats, while in the unlikely event that a venue doesn't disappear during a 'regeneration' project, the chances are they're going to want to play mainstream, middle of the road music. They're risk averse, these developer types. Anyway - Check out the film, and have a read of Max's 'Director's Notes' below. And if there's a venue near you that's under threat, stand up and do your bit to protect it, lest we all have to listen to Deadmau5 and his ilk forever more. Toodle pip Jack the Cad
‘Passed Clouds: A Story Of A Dying Club Culture’ is a
documentary about Club Culture and the closure of clubs throughout the UK.
This documentary was originally made for my final university
project, and it is about an issue which is very close to my heart. Nightclubs
and grassroots music venues are seeing their doors shut, up and down the
country, many of which receive no fanfare at all.
The documentary intends to bring a focus on to clubs such as
Passing Clouds and bring attention to other grassroots venues that have faced
similar fates. As a DJ myself, I performed at Passing Clouds and Bedroom Bar
only a few weeks before they each had to shut their doors. I had some of my
first ever gigs at those venues, and to see them get shutdown was totally
devastating.
It is fantastic to see people rally to save clubs such as
Fabric, but unfortunately most clubs don’t have the following or financial
capabilities to keep their doors open in hard times.
The closures come down a few key reasons: the price of
property, increases in rent, drugs, noise issues, as well as local councils
enforcing difficult to meet restrictions & being unsupportive of the
nighttime industry.
In the documentary I speak with a number of industry
professionals who share their thoughts on the closures and the reasons behind
them, as well as sharing their personal anecdotes of what club culture means to
them.
I also explore how clubs and music venues play an invaluable
economic role to our society, but even more importantly, how they play a
significant role in bringing people together and creating communities which
otherwise might not have existed without these venues & spaces.
Last year the BBC made a short documentary on the topic of club
closures, but I felt that it trivialised and failed to truly show the meaning
that club culture plays in many people’s lives. One of the key problems I found
with was their choice of interviewees. One on whom was Steve Aoki, an American
EDM DJ. I felt he was highly unqualified to speak on the topic of UK club
culture, and that his fame was the only reason for being in the documentary. It
ends up coming across as very corporate and unrepresentative of real
underground scenes. My documentary attempts to try and look at the topic from
the people who are really involved in the scene, and to give an unfiltered view
into how the people who are really being affected feel (Rather than a multi-millionaire
DJ who doesn’t even live in this country).
The main purpose of the documentary is to inform people about
the significance that club culture plays in many people's lives, and to show
that it is more than just going out and getting pissed with your mates on a
Friday night; but rather it is about music, love & human connection.
It doesn’t matter what music you like, whether it’s Electro
Swing or Jungle or Techno, if you care about your subculture, it is time to
stand up and protect it, because if things keep going the way they are, there
will not be anything left to protect.
If you are interested in reading more about the topic, here are
a couple different reports which I used in my research for making this
documentary:
Nighttime Industries Association: ‘Forward Into The Night’:
Duke Skellington is an American electro-swing producer and DJ from Los Angeles, and he is also part of the production duo The Vaude Villainz. He is also a promoter for Electro Swing events in the West Coast of America and runs his own podcast with Professor Watson, called the Jitterbug Jukebox. I caught up with The Duke, and spoke about a few things such as the American Electro Swing scene, his own music productions and his history behind how he got to where he is now as a producer, and we also spoke about some of the projects that he is working on.
What is the American electro-swing scene like, could you tell me a bit about it?
I have my best insight in California, what I can say about it is that in LA it is growing. We have a core of people. It’s weird, a lot of people like the sound but they don’t know it is an actual scene. I went out to see Parov Stelar and I saw Caravan Palace and it was massive! Jam packed, really big arenas, it was crazy; but as far as the local electro-swing events, we haven’t figured out how to tap into that group yet.
I think what it is, these people hear groups like Parov Stelar and Caravan Palace, they don’t know it’s a scene, they think it is like house music with a bit of swing in it, and they say ‘I like it’! They think of these supergroups as being unique to themselves, rather than part of this global movement. I think there needs to be an education process in bridging the gap between those artists and your Dutty Moonshines and Catjams, the artists doing really great music, but they’re not as massive as those guys… yet.
Me and a couple other buddies, The Gentleman Callers of LA and a guy from Swingtronic, Marshall, we had a meeting at the beginning of the year. We have some big strategies in place to take over and bridge those gaps and to build the networks and throw the events! LA is tough though, it’s big and it’s super spread out. If we throw a big event in Downtown LA, all the people in the West Side and Long Beach, they don’t want to drive out to it because they don’t want to deal with drinking and driving and it’s super expensive to get a taxi! So we’re trying to bring electro-swing to every little community in LA, and we’re looking to build our base.
I feel with other cities in America, except San Francisco, they are right there with us, I think they are in a similar place, but I think they just don’t have as a big of a crowd.
We throw these parties called Trapeze parties, it’s like a warehouse rave, but with electro-swing mostly, and we have burlesque dancers in between, we have magicians sometimes too. We have a bit of a circus element. We have a certain crowd of what we call ‘Burners’, some gypsy, some hippy, artsy, folky kind of people, all kinds of ages, from late teens to thirties. A real hodgepodge of people coming to our electro-swing events.
What have you found Los Angeles crowds respond best to at electro-swing/Vintage Remix events?
That’s tough… there are different crowds that respond to different things. I’ve DJ’d at different events, like Swingtronic for example is an event which is people who are mainly into classic Swing and are into classic Swing dancing, but also there is a part of the night where we bring in electro-swing, and when I am DJ’ing there, I play less grime-y and less bass heavy stuff and more classic electro-swing like your Parov Stelars, and a lot of the Freshly Squeezed stuff. It can be House-y but it doesn’t get too electronic. Although, when I do Trapeze, I get really bass heavy and grimey, I bring out the stuff that crosses over into the really really glitched out and nasty stuff and people love it! If I were to talk about Americans in general, if I had to pick a majority, I would say they lean more towards the more electronic and bass-y stuff, but there definitely is a crowd for more ‘classic electro-swing’.
Where did the name Duke Skellington come from?
I was just doing plays on words and with old Swing artists names, and I was actually going to go by ‘Duke Skeleton’, and I was talking to a few friends about it but they kept saying ‘Duke Skellington’ and I was like why do you keep calling me that? I was then like, ‘wait a minute…’ if everyone is saying that, maybe there is something to it. So I did a poll with a few of my friend’s who I really value their judgement and I asked them what they preferred and they unanimously said they preferred ‘Duke Skellington’.
What plans do you have for your upcoming productions?
The plan for this year is a want to put out a free remix tune every month. It will be free for thirty days and each tune I want to ramp it up so that I can get more followers and stuff… on top of that, under The Vaude Villains I am releasing an album on Ragtime Records, four songs are coming out in the next month or two. Also, some stuff on Green Queen, on a compilation, it’s a song called Turtle Glitch, it’s a remix of a song called Turtle Twist. It’s a really fun track. I would like to have a 4 song EP out this year under Duke Skellington that is going to be mostly original joints, I want it to be with vocalists, and as much as I love doing remixes, I think I’ve got to break out of doing the remix thing and put out some originals too, so I can put my stuff out there in its own lane.
How long have you been producing and have you produced under different aliases before?
Yeah I’ve been producing since I was 15 or 16 years old in the late 90’s doing electronic music, back then the scene was so different… even before that I was a piano player and I wrote my first actual Swing song when I was 14.
I was into Swing music before I was even into electronic music. In the 90’s there was this style of music called The Swing Revival, Neo Swing. There were bands like Royal Crown Revue, Big Bad Voodoo Daddy, Squirrel Nut Zippers, and I was super into it! I was then playing in bands and then I got bored of the band scene, and then I got into electronic music. I never really thought those two worlds would collide and I always thought I would have to choose one and never thought they would end up blending together.
Since that time, since 1999, I’ve done a few different genres. I was really into Aphex Twin, what they call IDM. I did music under the name ‘Chad Cells’. It was very IDM-y and Aphex Twin-ish. I still have a soft spot in my heart for that guys music. I also used to rap! I did Hip-Hop for a long time, been in different Hip-Hop groups and put out some releases. All throughout that time I’ve experimented with House, DnB, a little Dubstep before it got too big, pretty much everything under the sun.
Because of my age I’ve done a lot - I was in the military, I have a kid - so there were different points in my life where things would take me in a different direction and I couldn’t focus on music as much as I wanted to. So there was a certain point where I was like, I can’t let life keep taking me away from what I am passionate about, so in the last few years I’ve really started buckling down on production and I’ve been trying to learn new ways to do things in a quicker way and a more efficient way.
I think there is a point in every producer's path where they go ‘man it’s good but it doesn’t sound like the stuff I’m DJ’ing, it’s not quite there’. I think every producer gets to that. Either one of two things happen, they either quit or they go ‘you know what, I’m not going to stop until I figure that out’. That’s where that fire got lit in me, where I’m like ‘I’m going to figure this shit out’. I thought my songs would be good but they would have something missing. I’ve been developing these techniques to figure out what other people do and trying to apply that to my own stuff. I feel that’s been a big part of my evolution in the last few years, I feel my production skills have gone up. I’ve only been doing electro-swing for about two years, but it now feels like a natural style for me.
Which artists influence you and your music? In the electro-swing community, and outside of it too.
So definitely Aphex Twin and Squarepusher were my early influences for sure, outside of ES that is. Inside of ES it would be… you know what, it would be that song by Gramophonedzie ‘Do Right’, I heard that song maybe four or five years ago, I thought it was amazing and I didn’t even realise it was a genre. I loved hearing the old and the new mixed together. That kind of planted the seed, so that song influenced me back then. I now think songs like Swing Break, those more glitchy Swing tracks, everybody from Howla to WBBL to Phibes, those guys all doing there thing have been very influential to me.
So you run your own podcast called the Jitterbug Jukebox. Could you please tell me a little about it, what it is, and what you discuss on your show?
Jitterbug Jukebox is a podcast with me and my partner Marshall AKA Professor Watson, and basically we’re focusing on the music from the 20s to the 40s and the subcultures that surround it and also in its current form of Electro Swing, which is big in Europe and it is building here in the US. We focus on interviewing artists, fashion, dancing; Marshall’s a professional Swing dancer, so he talks about Electro Swing and Swing dancing and how those areas go together. We want to do more historical sections on artists from those eras, that maybe people don’t know about their history. We’re focusing on Swing music from the past to the present and we try and cover it from every angle.
What is the Swing DnB and general Drum and Bass scene like in Los Angeles/America? What’s it prevalence in the Electro Swing community?
I’ll be blunt, there isn’t a strong scene for it, people don’t even know it’s a thing. It just gets lumped into Electro Swing in general. Drum and Bass though, I have friends who have been doing DnB for almost 20 years! I had a conversation with one of my buddies who has a DnB radio show, and his feeling on it is, and I don’t know if other people feel like this but, he thinks the UK is so prominently doing DnB that when he throws an event, he says he can’t get people to come out to it unless there is a big UK headliner. There is a core of people who love DnB, but they kind of look to the UK… but I know there are a lot of producers in the US who do DnB, but I’m sure there are American producers who have been successful with it, but I haven’t gotten too deep into American DnB producers. What I do understand though about the DnB scene out here is that they do very much look to the UK. Whilst other things like Trap, that may not be so much the case. I used to be into Jungle in the late 90’s, that was the shit! I was getting my mind blown every event I went to!
What production software do you use and why?
Ableton Live. I like it because it has treated me the best over all the years! I’ve used like five different DAW’s in my history of production, my last one I was using was Logic Pro and I was using that up to 2010, but yeah Ableton Live has some key features in it that I will probably keep using for a while longer.
What music, other than electro-swing do you particularly like?
I’m an Old-Skool Hip-Hop kind of guy, so definitely Hip-Hop. It’s funny my 9 year old son, he gets me listening to songs I would never listen to. They are like the pop radio Hip-Hop stuff, but I probably know more lyrics and songs that are on the radio than I have ever known in my life!
I actually tried to show him how easy it is to make a Trap beat, I build 808’s and I have drum kits, so I said if you want to make music like this, this what you have to do. So I started messing about, so I then decided I’m gonna make this into a Swing and Trap tune, it’s almost there!
Max Golfar gives you the inside track on Chap-hop's leading light, and catches up with him for a chat.
Your favourite chap is back again. After a summer of Gentlemanly escapades and multiple festivals every week, the original rhymer, Mr.B, has brought us an early Christmas gift in the form his new album ‘There’s A Rumpus Going On’.
Mr.B The Gentleman Rhymer has once again delivered his own unique signature take on Hip-Hop by adding that ‘chap’ flair, known as it’s own genre ‘Chap-Hop’.
When Mr.B isn’t having a perfectly made cup of tea or playing a game of cricket, he is writing the finest rhymes to create a right Rumpus for us to enjoy. 14 full songs on the album which is some of his most creative work yet. The production value is immaculate and the rhythmical flow is as smooth as ever.
LA beats and general wobbly instrumental, old stool hip-hop, music hall and George Formby
The whole album is a great listen and each song is unique. For me the standout songs on the album are ‘So Many Reggie Perrins In The Arse End Of Space’, ‘Hitler Gifs’, ‘Ollie and Stan’, ‘We Need To Talk About Kanye’ and ‘Youth, Truth, Gin, Vermouth’.
Unlike Mr. Reginald Perrin ever was, we are treated to a beguiling set of hip-hop beats through the album. ‘Hitler Gifs’ had my sides bursting, it’s not often I feel the need to dance whilst giggling. ‘Ollie and Stan’ has some jungle breaks half way through, which was a cool change up of pace on the album. Perhaps we’ll start to see Mr.B MC’ing over some heavy Jump Up next? Ok probably not, but this certainly got me skanking nonetheless.
Do you ever feel sad? Well Mr.B has treated us to a track that is 100% guaranteed to make you feel better, titled ‘The Happy Song’. I dare you to try listen to it without having smile on your face the whole way through.
‘We Need To Talk about Kanye’ starts off with a tribute to Queen’s Bohemian Rhapsody, which suits really well with Mr.B’s delightful chap-y vocals. Kanye West is yet to respond to the track, but the logical assumption is that he is afraid to rear his head after the roasting Mr.B has delivered.
Mr.B is currently on his album tour, having already done one and a half months, with another month and a half to go. Expect to see our favourite Gentleman Rhymer everywhere from London to Birmingham and even Manchester, travelling to all gigs via his Penny Farthing of course!
Overall, a really fun and enjoyable album, and one I would highly recommend. I was lucky enough to see him perform at Bestival this summer, and if you get the opportunity to catch The Gentleman Rhymer, do so, as you won’t regret it! A charming chap who puts on a great show. I managed to catch up with Mr.B to talk about his latest album, along with a couple other topics including his influences. Check out our interview together below, but first, here's an acoustic version of one of the album tracks.
Congratulations on the release of the album, how long has this been in the works and would you say that this is your best work yet?
This one has taken a while. I started it in the middle of last year, but then decided to do Mr.B’s Christmas Album, so started again earlier this year and throughout the summer, whilst doing about three festivals a week. It was somewhat hectic and the closest I have ever felt to actual ‘work’. Sorry to do a four letter word there.
The production quality is fantastic, so I'm sure many people are wondering what production software did you use to put the music together?
This album was largely put together on Reason 9, which is nice and easy for a luddite like me. I have recently started using Logic, but it appears to be terribly glitchy. Things disappearing and all that sort of thing. I shall persevere though.
Which artists inspire you and your work?
Of late I’ve been listening to a lot of lo-fi hip-hop, LA beats and general wobbly instrumental things. My overriding influences remain the same though - old stool hip-hop, music hall, George Formby, Ronald Frankau...
Would you have any stories of your years with your school chum Acid Ted, that you would like to share?
Glad, almost all of them have been forgotten amidst a fun of Absinthe. Heart of gold though, even if he’s a tad flighty.
Other than Hip-Hop and Rap, what does Mr.B like to listen to in his spare time?
All sorts. Last week in the motor car I listened to Duke Ellington, Elvis, Parliament and Nirvana, as well as the new Tribe Called Quest album, which was a timely reminder of how great hip-hop can be.
Kanye or Trump?
They both have titanic egos, but one is a racist, misogynist bigot and now in charge of everything, so I don’t fear The Kanye, just give him a bit of a ribbing every now and again.
To be honest I have a soft Spot for old Westy. I think if one is making music one ought to think it’s the best music there is. Otherwise why bother? Just listen to someone else’s.
What is next for Mr.B?
I’m back in the studio working on the next Mr.B The Gentleman Selector long player, the second in the Chapstep series. It’s called Absinthe House and, like its predecessor ‘Acid Ragtime’ it’s a chap’s take on dance music (another love of mine). I think this one is going to be something of a winner.
Max Golfar gives you the inside track on Chap-hop's leading light, and catches up with him for a chat.
Your favourite chap is back again. After a summer of Gentlemanly escapades and multiple festivals every week, the original rhymer, Mr.B, has brought us an early Christmas gift in the form his new album ‘There’s A Rumpus Going On’.
Mr.B The Gentleman Rhymer has once again delivered his own unique signature take on Hip-Hop by adding that ‘chap’ flair, known as it’s own genre ‘Chap-Hop’.
When Mr.B isn’t having a perfectly made cup of tea or playing a game of cricket, he is writing the finest rhymes to create a right Rumpus for us to enjoy. 14 full songs on the album which is some of his most creative work yet. The production value is immaculate and the rhythmical flow is as smooth as ever.
LA beats and general wobbly instrumental, old stool hip-hop, music hall and George Formby
The whole album is a great listen and each song is unique. For me the standout songs on the album are ‘So Many Reggie Perrins In The Arse End Of Space’, ‘Hitler Gifs’, ‘Ollie and Stan’, ‘We Need To Talk About Kanye’ and ‘Youth, Truth, Gin, Vermouth’.
Unlike Mr. Reginald Perrin ever was, we are treated to a beguiling set of hip-hop beats through the album. ‘Hitler Gifs’ had my sides bursting, it’s not often I feel the need to dance whilst giggling. ‘Ollie and Stan’ has some jungle breaks half way through, which was a cool change up of pace on the album. Perhaps we’ll start to see Mr.B MC’ing over some heavy Jump Up next? Ok probably not, but this certainly got me skanking nonetheless.
Do you ever feel sad? Well Mr.B has treated us to a track that is 100% guaranteed to make you feel better, titled ‘The Happy Song’. I dare you to try listen to it without having smile on your face the whole way through.
‘We Need To Talk about Kanye’ starts off with a tribute to Queen’s Bohemian Rhapsody, which suits really well with Mr.B’s delightful chap-y vocals. Kanye West is yet to respond to the track, but the logical assumption is that he is afraid to rear his head after the roasting Mr.B has delivered.
Mr.B is currently on his album tour, having already done one and a half months, with another month and a half to go. Expect to see our favourite Gentleman Rhymer everywhere from London to Birmingham and even Manchester, travelling to all gigs via his Penny Farthing of course!
Overall, a really fun and enjoyable album, and one I would highly recommend. I was lucky enough to see him perform at Bestival this summer, and if you get the opportunity to catch The Gentleman Rhymer, do so, as you won’t regret it! A charming chap who puts on a great show. I managed to catch up with Mr.B to talk about his latest album, along with a couple other topics including his influences. Check out our interview together below, but first, here's an acoustic version of one of the album tracks.
Congratulations on the release of the album, how long has this been in the works and would you say that this is your best work yet?
This one has taken a while. I started it in the middle of last year, but then decided to do Mr.B’s Christmas Album, so started again earlier this year and throughout the summer, whilst doing about three festivals a week. It was somewhat hectic and the closest I have ever felt to actual ‘work’. Sorry to do a four letter word there.
The production quality is fantastic, so I'm sure many people are wondering what production software did you use to put the music together?
This album was largely put together on Reason 9, which is nice and easy for a luddite like me. I have recently started using Logic, but it appears to be terribly glitchy. Things disappearing and all that sort of thing. I shall persevere though.
Which artists inspire you and your work?
Of late I’ve been listening to a lot of lo-fi hip-hop, LA beats and general wobbly instrumental things. My overriding influences remain the same though - old stool hip-hop, music hall, George Formby, Ronald Frankau...
Would you have any stories of your years with your school chum Acid Ted, that you would like to share?
Glad, almost all of them have been forgotten amidst a fun of Absinthe. Heart of gold though, even if he’s a tad flighty.
Other than Hip-Hop and Rap, what does Mr.B like to listen to in his spare time?
All sorts. Last week in the motor car I listened to Duke Ellington, Elvis, Parliament and Nirvana, as well as the new Tribe Called Quest album, which was a timely reminder of how great hip-hop can be.
Kanye or Trump?
They both have titanic egos, but one is a racist, misogynist bigot and now in charge of everything, so I don’t fear The Kanye, just give him a bit of a ribbing every now and again.
To be honest I have a soft Spot for old Westy. I think if one is making music one ought to think it’s the best music there is. Otherwise why bother? Just listen to someone else’s.
What is next for Mr.B?
I’m back in the studio working on the next Mr.B The Gentleman Selector long player, the second in the Chapstep series. It’s called Absinthe House and, like its predecessor ‘Acid Ragtime’ it’s a chap’s take on dance music (another love of mine). I think this one is going to be something of a winner.
Father Funk has recently released his new 5 track EP ‘Party Time’ on Scour Records, and it lives up to expectations. When you hear one of these tracks, you’ll definitely know that it is time to get down.
With funky riffs and wobbly basslines throughout, you can instantly hear the Father Funk touch. It’s upbeat, happy and easily danceable music. I remember watching a Deekline interview and him saying that breakbeat isn’t dead; Father Funk is certainly proving that with his signature Ghetto Funk Breakbeat sound.
The first track on the EP is ‘Party Time’, it starts with a very uplifting build-up and kicks off the album with a different style of bassline to traditional Father Funk tracks. This one keeps you on your toes with plenty of variation throughout.
Next up is ‘L-I-V-I-N’, which for me is the standout track. Really strong start to the song, keeps you waiting for the drop and builds up really smoothly. The horns in the main chorus go perfectly with the bassline and neither one overshadows the other. The lyric sampling is non-overbearing and easy to sing along with. This track is a definite crowd pleaser.
Thirdly, ‘Block Party’, starts off with a strong traditional breakbeat that instantly grabs your attention and gets you moving. Soulful overtones throughout and a subtle guitar in the background which adds interesting layers to the song. A proper house party tune.
The fourth track ‘Rock The House’ starts off with a simple drum pattern, into another soulful breakdown. Wibbly wobbly galore and fun hype-man samples throughout. I feel like I’m at an American college party listening to this one.
‘Soul City’ is the closer to this EP, beginning with a groovy bass guitar and wicked piano riff. (Who doesn’t like a good piano riff?) I get some Miami Vice vibes going on this one too. Vocals throughout most of this track, and less of a focus on the wobbly sounds Father Funk usually centres on. A cool contrast from the rest of the tracks.
All of the songs contain recognisable samples which keeps the tracks lighthearted. I find that too often, a lot of breakbeat has these hard basslines which can be a bit off-putting to the average listener. Contrastingly, Party Time manages to create basslines which aren’t too heavy, but still are powerful enough to give you a severe case of Bass Face.
For the DJ’s, the tracks are easy to mix and go nicely in many different kinds of sets. Whether you want to add more Wobbly goodness to your next Ghetto Funk set or throw in the occasional heavier tune in your soul or disco set, these will keep your dancefloor full!
