DJ Alex Corton – Good Looking Records

Good Looking Revords

Various – Jazz’n 

2014

It’s our final review of the week and also our final review of the Good Looking Records label. It’s been about eight months of work, writing, posting and tagging the people involved with the music and the art. It’s also been the start of my blog, showcasing the music from Good Looking Records. It’s been a journey through the foundations of atmospheric drum and bass, taking us through 22 years (and a few gap years), of one of the most integral and important labels in the history of electronic music. 

   When I saw how many reviews I had to write for Good Looking, I did think I’d hit a wall, as the style of music was in somewhat of a bracket. Having completed it now, I feel any amount of music on a label will enable the free flowing words to continue, for as long as it’s needed. My blog will be on hold though, until we reach Looking Good Records. That does mean I get a bit of a breather. Phew! 

   Let’s tip this last GLR release off the shelf and get things rolling. 

   I am sure that I’m in the majority that have a little confusion and off set reasoning when this release was announced. The idea behind it was to provide listeners with a batch of tunes that Bukem had selected, so us DJ’s and music lovers could enjoy those moments we all associate with when hearing his sets. 

   When the news came that we would be getting 8 tracks on one 12”, the doubts did fall into my head, as to what this would sound like. I was wrong to doubt that though. The sound is a bit quiet (understandably) but pretty good quality all round. What I was most infuriated with though, was the length of each track. As a vinyl purchaser and one that has the back catalogue of so many epic pieces on Good Looking, the duration of the tracks on here is disappointing. It sounds more like a sample disc, designed for cocktail parties as a hip way of trending with those that think they have some idea about this music, but really know Jack shit. The music on here deserves to have the tracks at full length as the content of music is very good. Putting it out on 2 discs with 2 full length tracks each side would have been perfect.

    The artwork had left the legendary hands of Nick and Gareth and had moved in-house too. More examples of cutting costs and a sign that the label was as desperate as needing a shit after 10 minutes, in a 3 hour, dream job interview. The design does take on this old fashioned look which I think works, but I do think the Purser / Jones touch would have added a deeper connection. 

   The music is our next stop, so let’s get Side A up and running. Most of the tracks on here were written between 2012 and 2013. Dave Owen starts of proceedings with ‘Less Is More’ which might be promoting the edited style of the tunes on the LP. Dave always provided a gentle jazz blanket to relax under, as provided here. That piano lends you a deckchair in the sun, and coats the inside of your mind with positive vibes. 

  Track A2 is by Flaco. ‘Punta Las Marias’ is one of my favorite tracks on this LP. It’s an area of Puerto Rico, on the coast of San Juan. The beach front air wisps along the shore and the influences of Flaco’s obvious connection to this place, flood out. The creativity rolls out well with this, but it fades, and you want more. 

  Up next is Russian producer, Sunny Crimea who’s still making music to this day. His track ‘Funky Trippin’’ on Track A3 takes the funky jazz route and the breakdown leads to a recognition that catapults a great bass into the track. The strings work well and the electric guitar adds a scoop of the cool night air.

   Last on Side A (A4), is a collaboration between UK based artists Matt Connell, AKA Jrumhand and Levi Phillips AKA Blade. Their track ‘Cascade’ takes a murkier swoosh across its flanks, straight from the corner of the bar and heavy on security. It’s not really doing much for me though, with a monotonous loop and slightly stagnant rut of ideas. Both artists have a massive amount of work that beats this. 

   On Side B we have the next four tracks. Apse and Thiago Pery team up for another project following their release on GLR093W ‘Jah’ which was a real beauty. ‘My Jazz’, is a wake up call straight from the gate. That brass blast gives you a bloody heart attack when it comes in. The tune is a really impressive piece of music. Punchy, groovy, fun and one that you can’t help nod your head too. Top 3 on the LP for sure as it buffs up a superb shine of creativity. These two had a really good connection when they made tunes. 

   Track B2 brings us one of the big guns of the liquid scene, Chris Kouzellis, who we’ve reviewed a fair bit during the White Label series on Good Looking. mSdoS presents a track called ‘Planet Jazz’. It’s swing time in the cabaret of mellow jazz, and the night is just getting warm. The stories have yet to be told and the gatherings hold onto the secrets until dawn. 

  Swiss producer Pulsaar brings us the track at B3 on this side, with ‘Soul Food’. He was part of the trio that made ‘Corrupt Level’ on GLR083W from 2013. Again, there is a a really good creative loop in here but it’s just spun around. When the bass arrives things do jet out a really solid sound, that brings a full on fusion of energy and flowing liquid jazz. I’m liking this track a lot. There’s a cool breakdown and piano in here too. 

   The last track on this LP is by Simplification & Translate. It is the track that hits the end of the road that started with Demon’s Theme on GLR 01. ‘Soul City’ (presumably where you’ll find ‘Soul Food’), takes us into the sounds of the continual liquid journey that we don’t seem to have moved too far away from after 12 years. On that note, maybe it was Good Looking closing its doors that saved it from flushing its stature down the toilet.

   Listening to this LP makes me realize how many tracks were just constant loops which is  why they’re so short, or they’d drive you insane. Just my take.

  This was a really sad way for Good Looking Records to finally wave good bye, when you look back at the vintage and prestige of the label. From those early plates, to this one, was a sign of the music’s evolving status (which had changed a fair bit, but still provided a good vibe), to short snippets of tracks that required less attention and a lot more immediacy. I liken it with going from eating a good 5 course Italian meal over 3 hours, to being spoon fed in 10 minutes. You still eat but in very different ways. 

   My blog is right here with the Good Looking Records catalogue. It’s now got most of the label on there, and once Looking Good Records arrives, I’ll add to it, followed by finding time to add the sub labels. Next week it’s onto our next label! That’s something I’ve not said for a while, is it? 

  Make sure the music fills all life’s needs when you need it most. 

    Big up LTJ Bukem for the Good Looking Journey. 

Next in this blog will be Looking Good Records, in a few months time.

Good Looking Records

MC Conrad – Vocalist 01

2000

Today we hit one of our last Good Looking Records reviews, and it’s almost as though it needed to include this guy one more time. During the Logical Progression LP’s we featured a lot of respects and odes to MC Conrad, who not only became one of the most important MCs of our scene, but also connected the Good Looking label with all of us in a way that only he could have done. Conrad Thompson will never be far from our thoughts for as long as this music is in our lives. He is part of the structure of more than just the label, his MCing has always ignited a sense of belonging. sense of community and a desire to let yourself free from the pressures of life and be at one with the music. 

    All the tracks on this LP were released as 12” singles except ‘Sonic Weapon’ which did have a very sneaky release in 2004 via the GLO store (which I must have missed), on a single sided plate. I wonder how that slipped by me? The rest of the tunes include; PFM’s ‘The Western’, Axis – ‘Euphony’, Blame’s – ‘360° Clic’ & ‘Visions Of Mars’, PHD & Conrad’s – ‘Progression Session’, Big Bud’s ‘Transmission’, and Seba’s epic ‘Planetary Funk Alert’. Each one is accompanied by Conrad’s signature voice, and several sing a long lines that die hards will click with. 

    Conrad lends that unmistakeable voice to this selection of nine tracks in his own rhythmic and expressive style, unleashing a helping of some of his most memorable and anthemic words to accompany these classics. This LP is such a masterful addition to the Good Looking Records collection, having these pieces with Conrad’s voice. I can always put these 12”s on the decks and not only enjoy a peak selection of tunes, but also encounter the mixed emotions listening to the combo with Conrad. It’s times like this I do find it hard to comprehend his absence. The memories and years of his presence are held fondly and within my core, and while it is most definitely tearful hearing these, I do find a proud and happy place in my heart for this replay of highly respected art from a much loved guy. 

   Nick Purser is on art and photography duty for this LP. The two photos capture the pensive and the purity, the thinker and the performer. As a crowd attendee for a few of the Bukem and Conrad performances from the early 90s up until the late 90s, it was more than just a DJ and MC. It was a story each time, that you never wanted to end. The music became more than a composition, and the complete picture was painted right in front of you. Music and words. It worked beyond measure. Nick mentions, “Got those shots when he was at HQ one day. He was always happy to get involved in whatever we needed. I liked the way the collar drew a line sweeping down and away from his chin. Really miss him on the scene.”

    I’m leaving this review, this release, with those words that connected me to Conrad and Good Looking. I’m sure there are so many of you that have your own deep connections to his talent. We have witnessed a moment in history that will remain as one of the most important and influential spines in the world of drum and bass. When it makes you fall in love so deeply, it makes you realize how damn lucky to have been witness to Conrad’s presence within our lives. 

  RIEP Conrad – the lyrics are alive in all of us. Forever. 

Good Looking Records

Pariah / Nu Moon – Studio – X2 X2DB (Part 3/3) 

2004

Our final record in the trio of vinyl releases in this X2 series has a couple of remixes on it that you will find on CD2. 

     Let’s jump in to this! 

   Artificial Intelligence are London based musicians, Zola Warner and Glenn Herweijer. With releases on Dispatch, V, Metalheadz, Exit, and Shogun to name a few labels they have released on, the duo have been pushing their music out for the last 20+ years. They take on the remix duties here, for Pariah’s track ‘Angel Falls’. While we do not have the original track on vinyl, the CD has it as track 7. 

   This is one fine piece of music, that shows the level of thought that goes into the work. They twist the bassline into their own honorable nod to Pariah, and you can glimpse those Pariah sounds throughout the track. You can definitely find room for this in a good liquid set and set off a crowd. It’s a shame it’s not a little bit longer in fact. Then again, this was heading into our future as a general rule wasn’t it? ‘Angel Falls (Artificial Intelligence remix)’ works really well. Well worth revisiting again if you’ve not heard it in a while. 

   The one tune left that I have to sneak in from the CD, is by a guy called Cubix. This is the only time I’ve heard of this artist so let me know if you anyone has anything more about him. I know his name is J Lloyd (according to Discogs), but as to any more info, the wall is hit. The track here is called ‘Thoughts’. This is one of the weaker tracks on CD 1, and while it has some nice sections such as the hard snare, the vocal sample and the wail, there’s an off center desire to keep this one in your memory banks. ‘Thoughts’ does lack a little something. 

   Finally, we have a remix of Nu Moon’s ‘Too Right’ by one of the most established and concrete junglists of our times. Andy Wright is Drumsound who became part of the duo mixing this track, but it’s Simon Bassline Smith who holds the key in here, as it’s his thoroughbred of 34 years in production that lights a very bright light. The Absolute 2 label founder, is one of the most important figures in the drum and bass world in my view, based on the music that passed through that label alone. His history is one mighty pillar of our world. 

   The remix of ‘To Right’ from Nu Moon, was a mighty tall order to take on, and to be honest, it comes reasonably close to honoring the original. However, there is a splash of the flight path that lay ahead and I get a glimpse of a world that doesn’t quite connect as much as a lot of the remixes on here. It kicks off with a rolling Amen break that is the foundation for the track and provides the engine. The bass adds a rawness that I do like too, keeping it old school. The first breakdown reels in pads, the piano from the original, and moves down the octaves for a subtle hook. The amens rejoin and that really highlights the track. It’s very different from all the other tracks on this Studio X-2 LP. It’s not really a comparison to the original, so in that frame of mind, it does enough to kick off on a dance floor. 

  There is one more remix that is on the CD and not vinyl. It’s Danny C’s remix of Alex DB’s, ‘Aurora Boreal’. It’s not a patch on the original though. More crunchy breaks on it, but the mellow and barbel hook catch is not really there for me. 

   That’s the ending of this Studio X series. Tomorrow we hit our penultimate review on the Good Looking Records label. I’m sure some of you will be glad of a fresh label to move to, and the blog will halt until I get to Looking Good Records (so my workload will drop a bit…at last). Tomorrow it’s another very special LP. 

Good Looking Records

Vice Versa / Greenfly – Studio-X2 X4DB

2004

   The first two tracks on this release are the last two tracks on CD 1 from the compilation LP. Just thought I’d start with that piece of info. It’s onto plate 2/3 in the X-2 Series and another double 12” to wet the beak. Time to cannonball off the top diving board and into the music. 

   Up first is ‘Trust’ from the Australian duo Vice Versa. They were reviewed a while back with their 2003 and 2004 releases on Good Looking Records (GLR060 & then GLR063). The Deshpande brothers provide another of their upbeat, busy and summer sounding productions, putting the extra coating of musical oil on the springs in the sound. While the work is one that doesn’t have the focus on a major breakdown or complex palette, it’s the basic nutrients of their skills which seep into the system, that they unleash so effectively. One for the bubblers and the skankers. 

    Side B is Reading based artist, Lawrence Green, AKA Greenfly who we reviewed back on Cookin’ Records (which will be in the blog eventually) and also on a couple of the GLR reviews (GLR056 & GLR061). The fresh and free flowing style he has is a breath of fresh air, jamming out that piano, the busy snare break and those soaring pads, spilling open the skies of wonder and falling like delicate drops of paradise into your soul. Greenfly was always putting a mask of the live performance goodness and an extra step into the rhythm and percussion of his work.

  We will hear from him again on CD 1 in a few seconds, and then again on Looking Good Records in a few months time. Big up to Lawrence! 

   On the CD we have another track that didn’t make it to vinyl and of all the pieces it’s the one I wish had. Nu Moon’s ‘Too Right’ is one of their epic displays of music writing which holds such a powerful and emotional degree of depth and intensity, that it really should have been a 12” single in its own right. The launch catapults you up through the building and building of this tune, hammering its way up from the chaos of ground level, rumbling, hurtling and piercing its way up through the clouds and twilight zones. The last part of the tune breaks free from the confines of gravity and atmospheric layers and the flotation and sparseness of space hit the hurtling craft, making the madness of speed and friction a past memory, releasing the tension into the seemingly still and unrestricted placement in space. A masterclass of music from the Nu Moon boys, Simon & Steve. 

  Another track that we have to accept as CD only is Greenfly’s ‘Gulfstream’ which is one of my favorite tracks of his, across all his GLR projects. The generating currents of sound gather to drift into the channels of radiant drum and bass from Greenfly, carrying the listener into the waves of unconscious tranquility which knocks on the door of recognition. The split in channels covers the newly sparked conscious awareness of the shivering caresses and melting arms that cocoon you in the magic of this track. Both the Nu Moon and Greenfly track really hit hard on this CD.

    Back to the music on the vinyl and it’s a couple more remixes we have on Side C & D of Part 2/3 of the series. We have on Side C, a remix of ‘Trust’ from plate one on this release, from Stress Level & TC1. Anthony Crook is TC1 and a familiar name on a number of projects from DJing to productions to label operations (Dispatch and now Metalheadz) and remains a pivotal member of the drum and bass world. He teams up with Graham Booth who is Stress Level. They put a real sense of the sun soaked beaches into the imagination of this tune, kicking open the carnival doors and making every little moment a party in your head. They took the original and injected a serum of Mardi Gras straight into its heart. I reviewed a track of theirs on Advance//d Recordings called ‘No Way Back’ that was featured on Progression Sessions 10, a few years back. They brought the party, that’s for sure. 

  Side D is our last on this 2/3, vinyl release, and it’s another remix of a Vice Versa tune, this time from Commix. He had the release on Good Looking called ‘Brass Eye’ on GLR064 and then we’ll hit another of his on Looking Good Records when we reach it. He lends a more rugged break and chest rattling bassline to the original of ‘Luck Of The Draw’, and it peps up the grooves that stem from it. George Levings made such good music, that it still astounds me how things turned out for him, with stitching up people, swindling money off them. A talent that could have kept a strong appreciation only lies in tatters now. It’s listening back to his work that now lessens the enjoyment a little, but the tunes still connect. Who knows, maybe he’s back making music as someone else..while watching over his shoulder.

    That’s Part 2/3 reviewed now, we hit the final part of the series tomorrow and I’ll be heading out tonight with the record box, to bring some tunes to the Austin D&B heads at Pop on West 6th. I hope anyone that can make it, are ready to lose it out there. It’s a treasure chest of tunes, guaranteed. 

Good Looking Records

Various – Studio-X2 X17DB (2CD-) / Studio-X2 X4DB (Part 1/3)

2004

  The week begins and it’s back to the five days of life that has to be supported by some good music. I hope your weekend was enjoyed?!

  For our next round of Good Looking Records, we move into the second chapter of the Studio X Series, which saw another batch of talent showcase their work in a slightly underground presentation within the labels catalogue. 

   While we have some well established names on the LP, such as J Laze, Greenfly, Nu Moon, Kymera and Vice Versa, we also have a couple of tracks by artists that I feel like we missed in a blink. Alex DB and then Cubix.

   For the reviews, I’ll be writing up about each of the vinyl released tunes and then a smidgeon about the CD only tracks. 

   Ten of the tracks made it onto vinyl from the double CD, which is a much more satisfying ratio than the first Studio X release. 

  Artwork for the X-2 series, comes from the joint efforts of Ben Brewis and Gareth Jones. I’m sure there are a few stories behind this project, including how some of the little messages that project a collection of DAT’s being sent to Bukem for his selection of tunes for clearance on the label, came to be. There’s a certain holding pattern with these pieces of music reaching a compilation with a view to main release. The funny thing is, if the label had released them all individually, would they have made more money? Who knows, it was a bit tits-up at times.

    Such is life, that the vinyl releases that were taken from the CD, miss out on a couple of real gems. Cubix, Nu Moon and Alex DB were all resigned to the CD only, which hurts like hell when you hear just how good a couple of those are. Here’s a little snapshot from the label for you:

Message on the case 

“”STUDIO X2” is the second album in an exciting series from Good Looking Records. Brand-new and previously unreleased tracks again skilfully picked by the master, LTJ Bukem. With cuts from Vice Versa, Kymera, J-Laze, Greenfly, Nu Moon, and Pariah, this 3 disc set is a sure-fire taste of the future; new producers alongside label favourites, with an array of well known producers creating the perfect remixes.

John B, Carlito, Drumsound & Simon Bassline Smith, Commix, Stress Level & TC1, and Artificial Intelligence add their unique styles to this great package. This compilation is also available as a 17-track double CD, the second of which is a bonus CD of the remixes and exclusive interactive CD-ROM. The STUDIO X factor – you’ve either got it or you haven’t, and once again Good Looking prove they certainly have!”

  Track 1 on the CD is by Brazilian producer Alexandre Augusto Da Conceição, who goes by, Alex DB who only had this and maybe 2-3 other releases on digital, as far as I’m aware. I wonder if DB stands for Decibels or Dolby? His track is ‘Aurora Boreal’ which is one superb, simple and metronomic slice of heaven. The techno synth stabs swirl and twirl along side a nourishing side car of bass. If you need one to settle the antacids of life, this is a real peach. The feeling when listening to this reminds me of Mark J’s ‘Flight 19’ in its casual and infectious way of transcending the atmospherics in a very deep way. Hats off to Alex! 

   Track 2 is also the first Side of Part 1 of the vinyl series. The first disc has two tracks from the first CD and the second 12” plate has two tracks (remixes) from the second CD. J Laze is the artist providing ‘Virtual Realmz’, broadening the bandwidth of the minds unconscious energy and regurgitating the sanctums of the spiritual core. For me, this track sounds more open and engaging in a slightly slower speed of around -3 on 45RPM, so I’d root for that kind of tempo to really let the tune breathe. Rob Blaze sets out an array of mind blowing elements in here, with a breakdown that fuels more re-energizing sauce for that funky bass and smooth beat workout. 

    On side B of this first plate, and the third track on CD 1, we have Kymera and ‘Following Forward’. This track is a fucking beauty, hooking you in right away with those descending chimes and smooth pad, while it’s that towering percussion that slices through the air with that beat programming. Ross Marshall is a guy we didn’t cover in the reviews as he only released on Looking Good Records, in 2002, so this is his first outing in the Good Looking Records catalogue. The music here couples the particles of the mystical mists, and douses the senses with a velvet tenderness, keeping the movement going and awakening the space gods. Top work here! 

   The next plate has remixes from John B and Carlito, which sparks a high class dose of experience and creativity into the fray. John B remixes ‘Virtual Realmz’ from J Laze on Side C, taking the original from the first plate and layering those electronic trance and techno ingredients straight from John’s spice rack of creativity. The harmony of the tech plinks, that huge warm bass and vocal wail, conjure up that world of old and new, meshing the heightened elevations of euphoria with the thunderous, sub surface rawness. The first major bell breakdown throws another switch of destruction out too. It’s a flame thrower of a remix which John spins to perfection. Really love this one. A steppers atmospheric voyage that packs a rapid helping of musical steroids into the mix. 

   Side D dips into the sacred world of Carlito’s wonderful expressions, remixing the original Greenfly track ‘Biorhythms’ that we will review tomorrow on Part 2/3. Anything associated with James Mitton Wade is never one to take lightly, as his output is so extensively admired. The ex Essence Of Aura member slots together slices through the variable waves on this poetic sea of sound. It’s another fine example of how to keep the movement and release the stress in one track. This is the only venture that Carlito made onto the Good Looking label as his commitments at the time with Creative Source, Moving Shadow and Defunked most probably held onto his output schedule between 95 and 2002. James brings a delightful splendor to this track, lifting that piano riff and building his skill set around it. A magnificent remix!

  That’s today’s review complete, tomorrow I’ll work through the second part of the series on vinyl and review another couple off the CD that didn’t make the vinyl cut.

   My blog is moving along, so the Good Looking back catalogue can be explored right here and you can cast back through the reviews so far on the label. I hope you enjoy! 

Good Looking Records

Various – GLR-X X10 DB (1CD-) &

Phazer / Scalar – Project: Studio X – Fields Of Mars / Solar

2002

The Friday flow encroaches and we reach the weekend, the ending of another week of Good Looking Records reviews and hopefully a time for those essential sounds to make more of their way into your lives. 

   Today we have the first of a series of releases from Good Looking Records, that I don’t feel have the recognition that they deserve. While the label was not as constant at churning out a torrent of anthems like the good old days, it still lent a very important piece to the world of drum and bass. 

   The Studio X and X2 releases conveyed a somewhat exclusive message in its presentation, with several established artists along side some fresh new ones. The way it was perceived from my angle, was one of tracks being sent into Good Looking, and being held for future release, following a “yay” or “nay” from Danny Bukem. What actually happened was that Good Looking got together some tunes that were floating around the organization and then thought, “let’s make a compilation” instead. 

   Now, this could have been a calamity if it had just been the CD’s, which featured some very interesting marketing for downloadable screen savers, behind the scenes footage (which I never watched, so can’t tell you about), and a remix CD. The technology was creeping in wasn’t it? 

   For the first Studio X release we have artwork by Nick Purser and Gareth Jones, which began on this project in 2002 and took us up to 2004 with the second part of the series. Any info on the design for this one Nick or Gareth? It was definitely another 3D program being utilized. It gives a migratory feel with the way the cylindrical tubes seem to flock across the view. Maybe it’s the migration of technology that comes to mind.. I don’t know. 

    There was only one 12” single that came from this LP, which is the white label we have pictured here with the CD. The vinyl 12” takes track 1 & 3 from the Studio X compilation, which considering the strength of the other artists on this, is a pretty bold call. Oliver Smith is Scalar who I believe has only ever had this one track released. He has the B Side on the 12” release here, and the first track on the CD, which is a beautiful space jazz excursion, taking a lighter style and spiraling off into the orbiting paths of cosmic equilibrium. Why Oliver never made more drum and bass material is fucking insane. He is now into trance production and was one of the earliest (and most frequent) artists to feature on the Ajunabeats label. His talent has been put to good use.

  Pariah’s ’Spiral Spirit’ is up next, with that trademark perky, assortment of sounds and little, off the trail beat pattern. The Pariah sound is very apparent as the capsule of intergalactic exploration continues into the clusters of rhythmic desires. That midnight saxophone is a true peach. 

   Phazer is Massimo Lombardo who we featured during the Deep Rooted label side of Good Looking Records. Here he has the third track on the LP, and the Side A cut on the 12” plate, ‘Fields Of Mars’. This has a brewing cloud of fine red dust bellowing across the uncharted terrain of the red planet, as the beats intricately roll and that Makoto style harmony comes brushing in. The guitar work adds a lucrative ambience to the piece.

   Soul Purpose are up next with a track that has a beat sounding like globules of bass jelly are being smacked around a pinball machine. It a real bouncy beat and has a very different flow because of it. ‘Where You At?’ Mark Wilkins and Ross Marshall put together an energetic and somewhat uplifting production in the sense that it captures a bit of quiet chaos on the bridge. 

   Intersperse are up next with ‘The Life On Me’ and provide this incredible piece of music that I wish had been put on vinyl. Why this first X Series was so sparse with the vinyl is a sacrilege. Layers of pads, an addictive bass and the rhythmic prowess of the Greek duo is a gift from the gods. 

  Greg Packer has track number six, ‘Touch Me’. This seems to slingshot a rapid ray of space funk around the bright orbs of the universe. This is engineered by a fellow Ozzy, Adrian Sardi, who Greg had worked with on previous projects. The piano in this reminds me of Hype’s ‘Dreams’ on the Roll The Beats plate. 

   Avid Nation’s ‘Constant Motion’ is up next. This is a very similar style to their previous work on Good Looking, with the addition of Daniella Delmonte on vocals. The woman from Del Monte, she say “Yes”..  remember those commercials? 

  Pariah has another track here called ‘Forever Real’ which is another belter of a track that could so easily have been a Good Looking release as a single in the catalogue of the 12”s. Like a lot on this compilation, it becomes hidden all too easily and for me, misses a prime opportunity for establishing itself as a really solid and respected tune. I just wish it had been pushed out more. 

  J Laze provides us ‘Arrow Warz’ as the penultimate track of the LP. This has a beast of a double bass, catching such a creative frequency of sound. J Laze pretty much guaranteed a first class journey when he wrote his music, and we have here another example of how on top of his game he was. Another one that should have a lot more recognition and praise. The breakdown alone, shakes everything into focus and we have this spine tingling shiver coursing through us. Just perfect! 

    Last up is a track from Omni Trio & Deep Blue, that did hit the vinyl 12”s as it came out on GLR061, so the review is in my blog, featured below. It’s well worth revisiting. 

    That’s the first part of this Studio X series written, we’ll crack on with the X-2 series when we return next week. Have a wonderful weekend and spin those tunes! 

Good Looking Records

Various – Textures

2002

Today, we reach a compilation that seemed to drop a random pastry cutter of decisions into the rolled out carpet of music that the expanse of the Good Looking releases provided. It’s a short and sweet review.

   The tracks include Good Looking tracks between 1999 and 2002. The artists and tunes have all been reviewed over the last 8 months of posts (which is mind boggling to be honest, as I wasn’t aware of just how many Good Looking Records tracks there are dat on the shelf). 

    The artists include Rantoul with ‘The Ladder’ from 1999, Big Bud with ‘High Times’,  from 2000, & then Intersperse with ‘Moonscape’, from 2000 on the same double GLR 40 & GLR 41. Nu Moon’s ‘Dark Matter’ is from 2000, PHD – ‘Contrast’ is from 1999, Nookie ‘Leviation’ is from 2000, Makoto’s – BlackBerry Jam is from 2001, Biowire ‘Karizma’ from 1999 and then the most recent track on the compilation is Pariah with ‘Primary Evolution’ from 2002.

  The artwork and photography for this release is the work of Gareth Jones, I have to ask, is the picture of the grass meant to be upside down? I just wonder if the ‘grass ceiling’ was the intention or it’s meant to be the familiar perspective of a lawn or grass patch. It does provide that feeling of the texture of grass as if you’re walking though it with just the soles of your feet enjoying the natural grounding, Gareth kindly got back to me on this:

“Often forget about this one. It’s a good call Alex Corton, with the ‘grass ceiling’ comment. Very possibly, mate. I know this release came from numerous label meetings and brainstorming new ideas, new angles that hadn’t been covered (which was getting harder and harder by that point). Of course, this ended up being the only one in said series. Was the upside-down grass intentional? for sure. We were even trying to find new angles with the artwork, literally. I think the shots were taken on a golf course on the outskirts of Watford, where GLR HQ was.”

 That’s the last singular compact disc that we’ll be reviewing, the next chapter is a unique little project that I always felt lurked in the deep shadows. Let’s change that, and bring forth a series that holds some cracking tunes and a few sneaky remixes that you’ll really appreciate. 

Good Looking Records / Progression Sessions

Progression Sessions Volume 1 – 10 – LTJ Bukem, Blame, Makoto featuring MC Conrad & DRS

1998 – 2004

For our final review from the collection (series) of CD’s on my shelf, we come to one of the most defining and musically historic mix series’ of the genre. One almost has to place this into an extension outside the drum and bass world in fact and into the greater appreciation of all electronic music. Greater still, all music.

    In 1998, LTJ Bukem & MC Conrad had already established themselves as the master story tellers and exceptionally talented combo that had graced our scene for a number of years prior. By ‘98, the duo had already provided us with faultless mixes and performances in a way that not only showed a telepathic connection between the two, but moments that deeply connected the listener to the fluid and unique way of composing the perfect voyage through the creations that you had in your head, and then some you never knew about. The journey in this series catches the Bukem & Conrad partnership to start things off, with full afterburners on, cracking the air with pure atmospheric bliss. Each release in this series has one CD with an MC and one instrumental mix, which at times seems odd, as listening to the instrumentals on many of the early Progression Sessions CDs finds you ending up with Conrad’s or DRS’s lyrics in your head anyway! We do have Deeizm on MC duties for Progression Sessions 9 too. 

   Propeller Design is the studio behind the work on Progression Sessions 1 – 2. I’m not sure who the design team are on Progression Sessions 3. Nick Purser takes over the design on, Progression Sessions 4, 5 and 7

Ben Brewis, from Firesnake and Gareth Jones work up the design on Progression Sessions 9 and it was Ben who continued on with the last Progression Sessions release where the ZYX Music took up the joint operations of distribution, for the then struggling GLR label. 

    A guy who’s never far away from the master journeymen, is Conrad Blame. A producer who was such a key player in GLR’s history. I seem to remember this mix was cutting it fine on time, I seem to recall? It was due to be finalized for its release and the day before it was due, Blame was still getting the mix done. At least I think it was this one, or was that Log Prog 2..? Brain malfunction probability is high here.. 

  Blame is up for the Progression Sessions 2, and he is joined by the talented MC DRS, Delroy Pottinger. The blend of Blames futuristic sounds and DRS’s voice connect superbly on this mix. It’s one that I go to a lot and we are witness to not only the edge of time that Blame seems to be light years ahead with, but also the craftsmanship of Blame’s mix with the 9 tracks on here. It really is a highlight of the series. 

  Progression Sessions 3, 4 and 5 continue Bukem’s studio mixes with Conrad on PS 4 and both Conrad and DRS on 3 & 5. The first of the live sessions hit on PS 6 in America (at The Roxy in Boston), as the series covers the countries of the U.K (At The End, in London), Japan (at Liquid Room in Shinjuku in Tokyo), and Germany (at Muffathalle in Munich), during the now worldly, Progression Sessions tours. 

   I could go on about the tracks involved with these releases, but it’s basically a lot of the released music on Good Looking and the sub labels, up until Progression Sessions 10, where the flow of tunes was basically only about 1/3 Good Looking Records tracks. The journeys speak for themselves and hold a firm place in the world of drum and bass as legendary. 

   I’m leaving the floor open now for a little vote on your favorite Progression Sessions in the series? If I had to pick, it would probably be out of the third, fourth and fifth personally (4-3-5 in that order). Which ones are your top 3, and why?

  Tomorrow we have one CD to review as it’s a compilation of music from 2002. Then we move onto a sneaky little series on Good Looking Records before finalizing the label with a couple more LP’s.

Good Looking Records

LTJ Bukem / P.F.M. / Blu Mar Ten / Tayla / Seba – Producer 01 – 06

2000 – 2003

For our next collection of CDs we channel our attention to the Producer series on Good Looking Records. This series took some of the classics and bits and pieces off the GLR label and compiled them into a neat selection of single CD’s of some VIPs of the scene. 

    Both Nick Purser & Gareth Jones both worked on these art projects. Each one captures the musicians in their poses of promise and ponderous stances. Nick worked on both Bukem’s Producer shots along with the Blu Mar Ten, and Tayla released issues. Gareth worked on PFM and Seba’s Producer compilations. 

    As you may notice, I am missing a couple of the releases in this series. Big Bud is Producer 07 which came out in 2004 and Makoto is 08 wasn’t released until 2013. I think when I look back at how many tunes I have from the artists on those two, I’m not really too troubled by not having them, and I can’t even play bloody CDs anyway, unless it’s my kids small portable player. By the time I’ve got that set up and ready to play, I might as well dig the vinyl out of the shelves instead.

  The good thing about these CDs is that they contain several tracks that were not released anywhere else, but then it’s the pangs of pain you feel in your heart, that you get when you don’t get the vinyl release. The first two Producer’s contained a full catalogue of releases from LTJ Bukem, at the GLR stable, but it’s the Producer 03 compilation from Blu Mar Ten, that has the first of the unreleased tracks: ‘Cumulus’ & ‘Small Truths’. ‘Ir-On-Ing’ was released on the CD of Earth – Volume 3. Tayla’s, Producer 04 contains ‘Resolution’ from the CD of Logical Progression – Level 3, then also on CD only, ‘Soft Focus’ on Earth – Volume 5 from his collab with Artemis, and ‘Timefields’ on Earth – Volume 4. 

   On Producer 05 we have Bukem with a collection of originals and remixes, and a couple of belters that never became more than tunes on this CD. ‘Demon’s Theme (Part II)’ is a little blend of the tracks from Bukem’s GLR 001 which I believe was made around 1997, with view to featuring as film music? The one track on here I really do wish had been pressed on vinyl is ‘Dreamworld’ which I also heard on one of Bukem’s Kiss shows from around 1995. I remember Bukem cutting in with the mic, just as the breakdown began, saying; “One for the dreamers”. A beautiful piece of music. ‘For All Of Us’, is also an alternate mix from that on the original. The rest on this P.F.M. CD all found their way to vinyl. 

  Seba’s Producer 06 compilation, contains a full house of material that was previously released across GLR, LGR and 720 along with ‘Remedy’ from Logical Progression – Level 3, and then from Level 2 the majestic and epic ‘Universal Music’. This CD is a brilliant collection of some of Seba’s (and Lotek’s) classics on the label. The vintage that keeps aerating on style. 

  That’s the Producer Series that I have on the shelf. If either of the 07 or 08 compilations reach me, I’ll add it into my blog which “plug plug” you can find here. I hope you enjoy reading through some of it. 

   Tomorrow, we feature another collection of CD’s, and have plenty of music to roll through. It’ll be more a snapshot, as the main purpose of these write ups is for my vinyl, but it’ll be hard to not dive into some of the most defining DJ mixes of the drum and bass world. 

Good Looking Records

Various – Points In Time 001 to 009

1999 – 2000

Good day to all. Well, another weekend drifts away and the work week staggers toward us with life’s charms and perils for us. I hope everyone had a good weekend and found time for the goodness and comfort of sounds. What would the world be without music? Strewth, I just got major shivers thinking about it.. 

   It’s a new week of reviews and while the main thread of these write up’s is based mainly on the vinyl off the shelf, there are occasions where the words can spill onto other formats.

   Today we start a series of three consecutive days of posts focused on collections within the Good Looking Records catalogue, before we return for our last few vinyl releases on the label. 

   There are vinyl releases of each one of the Points In Time volumes but I never bought any due to the fact I had all the 12” singles that came on each one. The main reason I did buy these CD’s was for the CD player in the car (which now doesn’t work), and also for the two cracking mix CDs, featured on Points In Time – Volume 5 with DJ Tayla and the on Volume 9 with Nookie. Tayla took 10 of the tracks from  volumes 4, 5 and 6 to mix (which was odd as this was before Volume 6 came out), and Nookie, took 11 tracks from volume 7, 8 and 9. 

    Artwork for the PIT series fell to Nick Purser who kept the series stretching across the spectrum of colors, and adding that fiery GLR logo of the character on the labels. This happy face was called “Shermy” from the standart pack which came with CorelDRAW software, 1989. Looks like he’s downed a few bowls of Ready Brek on these sleeves!

  If you’re after a collection or snapshot of this monumental label, these CDs are well worth having, especially as many of these tracks are so expensive these days if you were to seek out the 12”s. The mixture of tracks across both Good Looking Records and Looking Good Records seriously fulfills any atmospheric heads quench for some of the most foundational sounds of the deep. 

   If you are interested in reading up on any of the tracks on these Points In Time series, and they came out on Good Looking Records, you’ll be able to find the tunes you want, on this blog. It’s compiled by catalogue number though, so you may have to look that up. It’s not difficult though. You’ve got this!