Born in Cornwall in 1991, the Brainchild of Richard D. James (Aphex Twin) and Grant Wilson-Claridge, this is the story of Rephlex, one of the most important and vital independents around today. While other labels run over a few years by working a musical seam, then running out of energy, Rephlex has let its artists and its roster develop and encouraged new artists to rise over its long history. Rephlex has in its time produced some of the most influential British musicians in electronica, releasing the first two albums by µ-ziq, followed by Squarepusher's debut Feed Me Weird Things plus the sought-after burn-out industrial (now deleted) Chaos Ad album. They also put out the spectacular debut by Leila, Like Weather, one of the great left-field pop albums of the '90s. Not only that, but such luminaries as Luke Vibert and Drexciya saw their first British debuts on this label.
The first few Rephlex releases in 1991 had a rough techno sound, popular in large European raves and muddy fields alike, followed by the full-on acid madness of The Kosmik Kommando and the headstrong Universal Indicator series. With this scene in mind, Rephlex released brutal sonic extremities like the Caustic Window and Cylob's Industrial Folksongs but soon began opening further channels including the retro-futurist lounge act, The Gentle People, the early minimal isolationist post-rock of Seefeel and the fun but quality retro-electro of the DMX Krew.
Rephlex today stands with a staggering number of releases under its belt ranging from Pierre Bastien's experiments with mechano-jazz to Bogdan Raczynski's Polish electronic folk, to Astrobotnia's laptop dreams and the Bug's bass exploitation and ragga ruminations. Also, Rephlex has hosted such critically-acclaimed artists as the inimitable Analord project, Arpanet, Spac Hand Luke, Urban Tribe, Ceephax, Dopplereffekt, Bogdan Raczynski and the mysterious and much-hyped The Tuss. Rephlex represents taste-making and true dancefloor innovations that you simply won't hear anywhere else.
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REPH 206CD
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This album is the accompaniment to Jodey Kendrick's other recent album, Plus Ten. Jodey Kendrick was born in York. He lived there until the age of eight, when his parents took over the running of a pub in the South East (UK). As a child he would watch films with his dad, always focusing on the music within them. Those that stood out most were Lalo Schifrin in Dirty Harry and John Carpenter's work in his own films. During his adolescent years, he heard a mix tape which contained Stakker's "Humanoid" track. He was instantly intrigued not just by the sounds but how they were made. He got himself a Commodore 64 which he tinkered around with for a while before progressing onto an Amiga. Starting work gave him the means to move onto sequencers and samplers, and in more recent years, analog synths and computers. His early influences have already been mentioned, but another major factor in his addiction to music is when he heard a Ron Hardy mix for the first time -- he was blown away, not just with the sounds but the sheer variation of them. He wanted to make music that provoked that same feeling in people. Mr. Kendrick has been fighting in his own unique corner, reinventing these genres for himself with a contemporary slant, striving for some solid, driving tunes to counter the hardcore of his native Dunstable.
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REPH 019CD
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2012 repress. Long unavailable 1994 EP repressed at last. Twenty-seven minutes of Richard D. James' most insanely drilling 'ardcore, packed side-by-side with some twinkly electro bubble-bursts of melancholic AFX sound. It's really quite a goddamn laugh to be sitting here listening to this, surrounded by an entire universe of live oxygen and leak-free inks -- life's pleasures are just inescapably tremendous, sometimes.
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REPH 009CD
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2012 repress. Caustic Window is Richard D. James aka Aphex Twin/AFX/Diceman/Gak/Polygon Window/Q-Chastic/Soit-PP/Blue Calx/Rich of Mike And Rich, etc. This release collects ALL of the audio from his classic Joyrex J4/J5/J9I/J9II releases (originally issued in the early-mid '90s on a head-scratching array of picture disc singles and limited vinyl) onto a neat (albeit far less graphically-appealing) CD compendium -- a welcome surprise after seeing the demand for original vinyl increase near-exponentially, as of late. A varied mix of Richard's trademark AFX melancholy and hardcore acid maelstrom. The Caustic Window EPs were the first to appear on Rephlex and instantly set the standards for everyone else to follow.
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REPH 202CD
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The crown prince of electro funk is back! Dwayne Omarr has been in the shadows as a ghost writer, vocalist, and producer for many years, creating songs for many artists with major deals, even reaching number one on the charts in the U.S. He has, so far, generally preferred to remain behind the scenes... until now. Dwayne Omarr grew up in Boston and was first interviewed by Tom Bergeron and featured on the NBC program Superkids at age 14 for his ability to play multiple instruments. He studied at the New England Conservatory of Music and Berklee College of Music and is a member of ASCAP, with a personal catalog of over 300 songs. Dwayne Omarr is managed by businessman and music impresario, Cornell ("The Genie") Brown. In 1978, a young Dwayne Omarr traveled to New York with "Prince Charles" Alexander to record "Bush Beat" for the project known as Slyck on Solid Platinum Records, which was a highly successful cult single around the world. In 1982, Prince Charles introduced Dwayne Omarr to Maurice Starr, and they collaborated on another one of Omarr's classics This Party's Jam Packed, originally on Survivor Records. In 1984, Dwayne played bass, lead guitar, and performed background vocals on Prince Charles & The City Beat Band's Stone Killers album on Virgin Records. 1985 marked the release of Holy Rock featuring the cult-hit single "Save The Children." Dwayne Omarr also created an alter ego named Sir D and released the single Born To Be Free on Solid Platinum Records the same year. In 1986, Omarr produced the single Mr. Gigolo for Omarrs' Girls. In 1987, Omarr collaborated with Ralph Tresvant of New Edition, producing many unreleased projects and touring the U.S. and Japan. In 1988, Dwayne Omarr produced Suave's I'm Your Playmate, featuring the classic hit-single "My Girl" for Capital Records. In 1989, Omarr collaborated with singer Betty Wright and Luke Skywalker. That same year Omarr also collaborated with Cornell Brown on many projects, including the first Ralph Tresvant solo album and 4-Fun's The Unbelievable Fun Boys project on EastWest Records America. Omarr now links up with Rephlex to release the highly-anticipated Multi Funk album, an unashamed funk-rock R&B showcase featuring new tunes plus dub versions of favorites like "Save The Children," "Breakdown New York Style," "Mr. Gigolo," and others.
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REPH 204CD
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Evolving from where Collapse Of The Wave Function (REPH 155LP) and Wave Funk Vol. 1 vinyl EP left off, this is a wide variety of entertaining listening spanning the realms of electronic dance music. This is one CD of brand-new material + one CD of previously vinyl-only releases. 35 tracks in total. Ed DMX lives in London where he makes music and runs his label Breakin' Records. He also travels around DJing and performing live most weekends in different parts of the world. The first DMX Krew release was 1995's Got You On My Mind on Dutch label DAP, and this was followed in 1996 by Sound Of The Street on Aphex Twin's label Rephlex. This record hinted at what was to come with its mix of instrumental electro, synth-pop and techno made on vintage equipment. Lots more releases followed, mainly through Rephlex, but also on diverse labels including International Deejay Gigolos, Ersatz Audio, Sonic Groove and several others. DMX Krew remixes have also appeared of various artists including Gentle People, Biochip C, Denki Groove, Le Car and many others. In 1997, Ed DMX started his label Breakin' Records, which gained a cult following as one of the UK's first electro and bass labels with releases from DMX Krew and under the alias Computor Rockers, as well as first signings Bass Junkie, Mandroid and Ceephax Acid Crew. The last three albums and pair of 7" singles released on Rephlex under the umbrella of Collapse Of The Wave Function reveal a deeper, more considered side to his production, featuring ambient and experimental tracks as well as quirkier dancefloor fillers.
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REPH 209CD
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This is the first full-length release by live drummer/producer John Cunnane dgoHn (pronounced "Jon") and audio engineer/producer Robert Macciochi aka Macc. Each of them has released a plethora of singles/EPs since '94/'95 on a multitude of labels including Subtle Audio, Inperspective, Alphacut, Subvert Central, Offshore, Transmute, Outsider, Syncopathic, Breakin, 13 Music, Counter Intelligence, Plain Productions, Exegene and SC Digital. This is the first major album to be unleashed; much more in the vein of Squarepusher and Billy Cobham, Buddy Rich, Art Blakey, etc., than the more common all-electronic epic dark rinsers/vocal stabbidge, etc. Tight and solid but laden with atmosphere. Some Shit Saaink echoes a current popular focus on the predecessors of modern dance music, but with the freedom and vibes of early pioneers like LTJ Bukem or Remarc, and with the slickness, modernity and occasional brutality of 2010. A release that continues to prove that there is still something new to be heard in electronic dance music, especially the so-called "drum and bass" genre, or even that of jazz fusion.
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REPH 194CD
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This is the second collaborative release by Vibert/Simmonds -- a legendary album of previously-unheard material from the Rephlex archives, produced by two of the label's favorite artists, both Cornishmen. Their debut album, Weirs, was released all the way back in 1993 and it remains a seminal masterpiece of that special era. Rodulate is a superbly entertaining collection of early classic material that has been zealously indulged by Rephlex aficionados for all these years, lovingly selected by the artists themselves. Luke Vibert is known for his work in many genres of music and has recorded under several different aliases, including The Ace Of Clubs, Amen Andrews, Kerrier District, Plug, Spac Hand Luke and Wagon Christ. He has released albums on Astralwerks, FFRR, Mo' Wax, Ninja Tune and Warp, among others, and has become known for his super-slick beat-making and positivism. Vibert originally became involved in electronic music through his interest in funk and hip-hop, as well as the environment of bedroom experimentalism associated with the swelling UK dance scene (circa '86-'92). Jeremy Simmonds aka Voafose, has remained a collaborator, background influence and spiritual advisor to Luke for years and released his debut solo album on Rephlex at the end of 2006; a collection of ambient solutions, sonic curiosities and psychiatric realizations. Jeremy's recording experiments started years before collaborative music -- from childhood experiments with discarded, hand-me-down tape recorders, capturing sounds from radio, TV and the outside world. He is now known as a master of sonic texture and timbre. Together, this duo assimilate such diverse elements as hip-hop, house, techno, jazz and musique concrète into a unique take on electronica. With the first album, they tweaked and kick-started a virtual insurrection in sound around the world, and Rodulate starts where that left off.
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REPH 194LP
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Triple LP version. This is the second collaborative release by Vibert/Simmonds -- a legendary album of previously-unheard material from the Rephlex archives, produced by two of the label's favorite artists, both Cornishmen. Rodulate is a superbly entertaining collection of early classic material that has been zealously indulged by Rephlex aficionados for all these years, lovingly selected by the artists themselves. Luke Vibert is known for his work in many genres of music and has recorded under several different aliases, including The Ace Of Clubs, Amen Andrews, Kerrier District, Plug, Spac Hand Luke and Wagon Christ. He has released albums on Astralwerks, FFRR, Mo' Wax, Ninja Tune and Warp, among others, and has become known for his super-slick beat-making and positivism. Vibert originally became involved in electronic music through his interest in funk and hip-hop, as well as the environment of bedroom experimentalism associated with the swelling UK dance scene (circa '86-'92). Jeremy Simmonds aka Voafose, has remained a collaborator, background influence and spiritual advisor to Luke for years and released his debut solo album on Rephlex at the end of 2006; a collection of ambient solutions, sonic curiosities and psychiatric realizations. Jeremy's recording experiments started years before collaborative music -- from childhood experiments with discarded, hand-me-down tape recorders, capturing sounds from radio, TV and the outside world. He is now known as a master of sonic texture and timbre. Together, this duo assimilate such diverse elements as hip-hop, house, techno, jazz and musique concrète into a unique take on electronica. With the first album, they tweaked and kick-started a virtual insurrection in sound around the world, and Rodulate starts where that left off.
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REPH 193CD
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Bogdan Raczynski is back after a 5-year hiatus to present the Holy Grail of raving, alright!. Hot on the heels of his 2002 world hit slammer album, Renegade Platinum Mega Dance Attack Party, a secret underground collaboration with Björk, collecting the best recipes for a sultry cookbook and copious amounts of partying, alright!'s 42 minutes and 8 tracks take you on a critical mission to save the planet, nay, galaxy from absolute boredom and stupefying seriousness. With all the negative events and saddening consequences of our actions, the world can look like a daunting and crippling mess. Enter alright!, a joyful, spicy blend of old-school rave, new school Eurodance power, original hardcore dance vibes and only the best in acid energy to inject a touch of joy and magical power. You can steal it, you can buy it, you can nick it off a friend, but without it, you are a lost soul.
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REPH 184CD
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Detroit legend Urban Tribe aka Drexciyan DJ Stingray aka Sherard Ingram releases his third full-length, his second for the Rephlex label. Ingram is most famous for his early techno masterpiece, "Covert Action," on Carl Craig's Retroactive imprint. After releasing a number of singles solo, Ingram worked with Carl Craig, Anthony Shakir and Kenny Dixon, Jr. for Urban Tribe's first full-length album on MoWax. Most people would recognize him today by his "Drexciyan DJ Stingray" moniker, as his electric sessions have entertained audiences worldwide in recent years. Enthusiasts will have most recently enjoyed his contribution to Crème Organization's Tribute To Robert Moog CD, as well as the Rephlex promo 7" from the end of 2006 (which scored a 5/5 on Discogs.com). This man has, time and again, proved himself as one of the godfathers of electronic dance music, while managing to maintain a sub-aqua profile to avoid distraction and dilution of his sound. The first installment on Rephlex, his Authorized Clinical Trials album has been widely praised. Acceptable Side Effects picks up where the last release left off -- the tracks are electro/techno/hip-hop grooves, perhaps more diverse in style than his last foray but just as entertaining, if not more so.
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REPH 181CD
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This is Vienna-based sound artist Florian Hecker's first full-length release on the Rephlex label. Hecker has been working with computer music, independently and in collaboration with other artists such as: Farmers Manual, Russell Haswell, Shunichiro Okada, Peter Rehberg, Marcus Schmickler and Yasunao Tone since 1996. Hecker's works emphasize the connection of the most recent as well as the most historic developments in computer music, hard- and software. Often working closely together with software engineers and scientists, his recent productions incorporate psycho-acoustic effects disorientating the listener's spatial perception in live presentations and studio works. He has been working on sound pieces commissioned by visual artists Angela Bulloch, Carsten Höller, Florian Pumhösl and Cerith Wyn Evans. Together with Russell Haswell, he is currently working on a compact disc with material recorded early 2004 during their research with the UPIC system at the Centre for Composition of Music Iannis Xenakis (CCMIX) in Paris. The eight pieces on Recordings for Rephlex were completed between 2002 and 2004. Although individual pieces have been produced for different occasions, all the recordings share concepts of sound generation on various time scales, down to the smallest sound particles. Superimpositions of multiple audio layers were not applied.
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12"
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PRO 188EP
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Fabrizio and Marco D'Arcangelo share their love for synth-generated music. Fond of electronic music since the British new wave invasion of the '80s, the two brothers were keen on embarking onto early experimental music through the aid of affordable samplers and PCs. The aim behind the forthcoming album Exsel is to gather the quintessence of the D'Arcangelo project over the last 10 years. This EP features three downtempo/leftfield/electronic tracks, mellow and solid techno-hop, backed with the now-classic electro anthem, "Diagram 2 (Original Mix);" all tracks exclusive to this EP.
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REPH 182CD
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Though not yet properly established as a solo artist, Jeremy Simmonds aka Voafose has remained a collaborator, background influence and spiritual advisor to artists such as Luke Vibert, AFX and Boymerang for years. This debut album release is an opportunity to properly represent his presence. Contained on the CD are a collection of ambient solutions and sonic curiosities, selected from a 20 year archive of material. Expect to hear explorations into the aural benefits of pitch instability, the textural artifacts of audio tape, audio strobing, vocal manipulations, as well as muzak-concrete and a few psychiatric realizations. The following instruments and ingredients are evident; Roland SH-101 and JX8P synthesizers, Fender Rhodes Mk 1 Stage Piano, various delay/reverberator/modulator units, modified tape recorder devices, feedback, music and voice captures from radio and television, famous clock bells, a World War I bomb casing and faulty plumbing. Voafose recording experiments started years before collaborative music -- from childhood experiments/playtime with discarded, hand-me-down tape recorders... capturing sounds from radio, TV, and the outside world through childhood ear-filtering. Many of these sounds appear in previous collaborative work and feature on the CD also -- either within part of the sound collage or individually as intervals between pieces (e.g. "Big Ben," composed from source material generated as far back as 1985). The aim of this album is to provide a mixture of atmosphericals, reflections, aural psychosis and comedy. It's also a chance for Rephlex to showcase someone they consider to be a master of timbre and sonic wit.
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10"
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KIT 001EP
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This is a limited edition vinyl pressing featuring selected tracks from the forthcoming Rephlex albums by Florian Hecker of Mego and Jeremy Simmonds aka Voafose (of Vibert/Simmonds notoriety). Simmonds says, "The aim is to provide a mixture of atmosphericals, reflections, aural psychosis and comedy." It's also a chance for Rephlex to showcase someone they consider to be a master of timbre and sonic wit. The record is intended for scientific publication, collections, audiophile vinyl enthusiasts and DJs.
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REPH 180CD
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Detroit's Sherard Ingram (aka Mystic Tribe) has released a number of solo singles and has worked with Carl Craig, Anthony Shakir and Kenny Dixon Jr. for Urban Tribe's first full length album on MoWax. He is best known for one of the all-time great Detroit techno classics, "Covert Action," which appeared on the legendary Retroactive imprint in 1990, to be reissued by Planet E in 2002. Prior to that, he's worked on one of Kirk DeGiorgio's New Electronica albums, all the way back to the beginning with Juan Atkins & NASA in 1987. Most people would recognize him today by his Drexciyan DJ Stingray moniker, as his electric sessions have entertained worldwide in recent years. Authorized Clinical Trials is aimed at both club DJs and bedroom scientists alike! This man has, time and again, proved himself as one of the godfathers of electronic dance music, while managing to maintain a sub-aqua profile to avoid distraction and dilution of his sound. All hail a substantial new member of the Rephlex family, who shows that electro doesn't have to be new school or retrodden and that techno doesn't have to be predictable and emotionless. Check!
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12"
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REPH 177EP
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The latest pressure from the man with the golden ears and the magic touch, Luke Vibert. He needs little introduction, with albums since 1993 on Rising High, MoWax, Planet Mu, Warp, Ninja and of course, Rephlex. Together with Aphex Twin and Squarepusher, he is noted for being a vital cornerstone in the triumvirate of braindance supremacy, and over the last couple of years extensively touring the world as a DJ. Spac Hand Luke is a symbol of rebelliousness -- an unconventional hero. This vinyl-only EP seems to be inspired by the current grime & dubstep scene but calls upon dancefloor & techno production and acid B-lines. It's a compelling patchwork of styles, guaranteed to rock a party. Three tracks roll in at 134-140 BPM -- perfect for mixing, plus a Miami bass bonus beat to round off, for you Headz out there. Quality fun.
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12"
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REPH 179EP
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Sherard Ingram has, time and again, proved himself as one of the godfathers of American electronic dance music, while managing to maintain a sub-aqua profile to avoid distraction and dilution of his sound. This new single on Rephlex opens the flood gates to a ton of new material aimed at both club DJs and bedroom scientists alike! The album Authorized Clinical Trials, to follow shortly, is already being praised by those who have been lucky enough to hear it. And a follow-up album has already been produced. So all hail a substantial new member of the Rephlex family, who shows that electro doesn't have to be new school or re-trodden and that techno doesn't have to be predictable and emotionless. Check!
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REPH 159CD
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A collection of 7" singles and previously-unreleased tracks from UK-based Kevin Martin's (The Bug) Razor X Productions, started in collaboration with The Rootsman. Features apocalyptic mashup ragga anthems from the classic Razor X 7" imprint, as well as a few exclusive tracks which all show the rougher side of this act. Killing Sound celebrates soundclash as urban warfare. Floorquake basslines, body breaking beats and a barrage of deafening electronics amplifies the noise of cultures clashing. Fusing ragga's obsession with sex and violence to punk's confrontational energy, this ear bashing blast of detonated breaks is a fired-up antidote to the glut of careerists clogging up the airwaves, and valiantly continues the dirty work begun by On-U-Sound, World Domination Enterprises, Public Image, Bad Brains et al. An unforgettable rush of sonic insanity and red level intensity, distorted bleeps, explosive beats and terrifying vocal performances provide the blueprint for a skullcrush party disenfranchised rockers can appreciate and reggae casualties can celebrate. From the initial, unforgettable homicidal anthem penned by He-Man, to the melancholic crooning of Studio One veteran Tony Tuff, from the Tiger-style sadism of Wayne Lonesome and the tongue-in-cheek fighting talk of Warrior Queen, the lesser known MCs give legendary mic chatters Cutty Ranks and Daddy Freddy a murderous run for their money in the verbal skills and lyrical chills department. Call it yardcore, bashment, mutant ragga or whatever -- these tracks rock hard and gleefully burn up the rule book.
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REPH 174EP
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This is a cult remix of a classic song that has pleased crowds the world over for many years and finally the Rephlex aficionados have decided, and have been allowed, to share it with everyone. Emotionally charged and innovatively produced, it's a great tune for any environment, and here you will hear it embodied in rumbling, throbbing glory, matched with soaring vocals. The record is a collaboration between two highly acclaimed artists, a boy and a girl, from different countries -- but from the same nation... of Braindance! One is incredibly successful in his field of mathematics, ju jitsu, cookery and polka dancing and the other is a well-known and accomplished vocalist and performer, popular around the world. But the credit for the track lies mutually. You might call it a hint -- in the run out grooves of this record you will find the following URLs:
www.indian.co.uk.bjork
www.bogdanroczynski.com
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REPH 175LP
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This is the fourth release in synth-pop Londoner DMX Krew's (Edward Upton, Ed DMX, Computor Rockers, EDMX) The Collapse Of The Wave Function series, an exploration of the Copenhagen Interpretation of Quantum Physics. Regular DMX Krew electro synth-pop dance trax morph into something profound, universal and slanted. From the sounds of the Eventide Harmoniser (the first digital effects unit) to the righteous yet drowsy funk of analogue synths, this series reveals a deeper, more considered side to DMX Krew's production, featuring quirkier dancefloor fillers. Collapse of the wave function: think electro/techno with hints of ambience, throw in some grime, some braindance, and you've just about grasped the theory.
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REPH 176LP
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.... (Collapse of the Wave Function - Vol. 5) This is the fifth volume in synth-pop Londoner DMX Krew's (Edward Upton, Ed DMX, Computor Rockers, EDMX) Collapse Of The Wave Function series, an exploration of the Copenhagen Interpretation of Quantum Physics. The Transactional Interpretation LP is a third way of understanding the laws of quantum physics. From the sounds of the Eventide Harmoniser (the first digital effects unit) in "Clock Works" to the righteous yet drowsy funk of analogue synths in "Dydramol Theme," The Transactional Interpretation continues the theme of deep exploration into the strata of electro/pop/synth/dance tunes. Never one to follow trends, this release features a mix of ambient and experimental tracks as well as quirkier dancefloor anthems. Throw in some grime, some braindance, and you've just about grasped the theory. These are top tunes.
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REPH 157EP
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"This is K-Rock, i.e. Kelly Barnett's second E.P. for Rephlex after his New Deal EP two years ago. The EP is a collection of rough, cut and paste tracks taking in R and B and disco influences from K-Rock's collection of rare grooves and the grimey sound of the London pirate stations. The feeling of the EP is dark and dirty, with a tense nervous energy. As his graffiti tag states, K-rock, comes from the N5 borough of London. K-Rock started his professional raving career as a dancer for Baby Ford -- you can spot him spinning in the 'Children of the Revolution' video, a top 40 hit back in 1989. He's also released two records on Ed DMX's excellent Breakin records label."
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REPH 132CD
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"Lory D is a name you will find missing from the list of celebrated dark techno producers, e.g. Jeff Mills, The Mover, Lenny Dee and the Aphex Twin although his music, is as essential. He's an ex Italian D.M.C champion who has been playing since 1989 and owns the seminal Roman techno label Sounds Never Seen. He was one of the first people to bring the Acid House and Hardcore sounds of London to Rome, where he is regarded as something of a god. His inspiration comes from Rome's nighttime metropolis, the darkness and beauty of the city and the overwhelming feeling of the underground raves he plays. His musical influences are as wide ranging as Aphex Twin, Suicide, Drexciya, Spk, Ligeti, Frankie Bones, The Mover and Underground Resistance. Sounds Never Seen has released a clutch of twisted metal soundtracks in recent years... never more than 500 copies pressed and all fanatically collected by likeminded freaks. All the records are most effective floor fillers, all are 'sounds never seen'. Together with Rephlex label-mates, Leo Anibaldi, Bochum Welt and the D'Arcangelo brothers, Lory D best represents the sound of Italy, or even the 'sound of Rome', since 1991. Lory's music is fearless, original and strong Electro and Techno. There isn't much of that around and the world needs to hear this album."
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REPH 126CD
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"PP Roy returns with a distinctive brain blast of flavours on his new ep: Seven Up. Hearing is believing. Over its seven tracks, the music on this EP is even more fantastic than on his outstanding debut album You Can't help Liking PP Roy. Featured on this sumptuous cornucopia the listener can find breakstep classics, a collaboration with fellow Rephlex artist Global Goon, electronic bird bleeps, oap poetry, new country, ambient and illbient and fine string arrangements. These sum parts add up to a genre-busting bonanza that will delight whether you are relaxing in the living room or dancing in the disco tech. This is a release that could slide up to Missy Elliot, share some canapés with the avalanches then compare notes with DJ Shadow."
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REPH 129CD
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"Rephlex presents the first ever release of the soundtrack of the video Eurotechno from 1989. Hailed as a visionary landmark in dance music culture this mini-album is must for everybody into Acid Techno magic. The man behind the music is Brian Dougans who is most famous as half of the duo Future Sound Of London, but early recognition came for him with the European and UK hit single 'Stakker Humanoid', under the name Humanoid in 1988. Around the same time, he teamed up with the groundbreaking video artist Mark McClean aka Stakker, after meeting at Salford College. Mark built a video suite around a Fairlight Graphics box; Brian found a Roland TB303 (the machine responsible for the squelchy acid noise) in the basement of his college and began using it, creating sketches similar to those he was hearing emerge in Manchester at the beginnings of the Acid House scene. Their synergy was unique and extremely exciting, and the partnership culminated in the creative masterpiece Eurotechno, released on Virgin's Videola label. This video was the first time the emerging bedroom electronics scene expanded into the visual medium. It was essentially one of the first commercial V.J tools, showing just how much could be done by bedroom programmers. When the video was released, Rephlex were still in school uniforms and living in Cornwall, but it was one of the main things that inspired us to set up a label. For us this is the fulfillment of a long-term dream; to make the soundtrack of this visionary film available for the first time on CD and Vinyl. The album was painstakingly tracked down and mastered direct from the original master tapes of the film. It captures the audio overload of the incredible music in all its intricate, precise detail. The release of this soundtrack isn't an exercise in nostalgia, or a cash in on all things 'old school'. We are delighted to release this music, as we genuinely feel it sounds as fresh, exciting and unsurpassable at this time as any other, and for this reason it needs to be listened to and enjoyed rather than forgotten."
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