DJ Alex Corton – Good Looking Records

Good Looking Records

PFM – The Western (Mike’s Ricochet Mix) / One & Only (Remix)

2003

It’s Friday at last, and the final artist 12” connected to the releases on Good Looking, from my collection, is by a guy who planted a flag in the atmospheric planet. When you hear or see the Good Looking name, or logo the brain usually spins through its index cards of names with a few that you expect to see stand out. Today’s artist is one of them. Mike PFM Bolton. 

   When you’ve already produced some of the most highly acclaimed, timeless and innovative music in the history of drum and bass, the bar sits somewhere above the norm. Way above. Time ticks on and the constant of change is unstoppable. It is with this in mind that we have two tracks here that have a very interesting diagnosis. First of all, if you have two original pieces that are as powerful and anthemic as they are, do you need to touch them? Hear me out now, the answer in this case was yes. You have to remember that in 1995 when the originals cut a whole new way of thinking on the world of Atmospherical mystics, the world of DJing was different to that of 2003. Tempos had generally seen around a 10-15 BPM increase between these years, and the tunes were definitely getting shorter. The drum and bass lovers were eager for the future calling, but still held onto the roots of the sounds, and it was remixes like these that had us nodding our heads to the classic sounds we’d experienced in the mid 90s, while blending into the newer tunes of the time. 

    As it is also Mike Bolton who reworked his own tracks, then I know the source of these productions comes from the creator of the groundbreaking originals. There is a piece of mind that comes from this, in that the intention was purposely designed for those that bridge the gap between ‘95 and ‘03, and also the new wave of ravers that received a taste of the past. This is one of the main reasons why this plate works so well. True, you will never hear a better version than the originals of these tracks, but putting that aside, these remixes slip into the drum and bass world, with proud stature and cater for the new brainwave functioning of our society. 

   Side A is stated on the sticker and the etching that it’s track A. This is not the case however as it’s actually ‘One & Only (Remix)’ that lends its instantly recognizable flurries of the original to the ears. While the arrangement carries the key golden elements, the beats have a slightly jagged edge to them. The track takes a shortcut in arriving at the epic section of the breakdown with a little tweaking of the vocal filters, a more confined overall grandeur and a few rounded edges of finishing which tidy up the construction. This in turn produces a very spick-and-span piece of music that feels as welcoming as a show home but not lived in like the original of home. The second breakdown is a sweet section of the music, which does carry those echoing vocals, the ever constant and deeply hypnotic bass that remains one the most recognizable and heart exploding sounds of the scene. The original of ‘One & Only’ was the third release on the Looking Good Records label (LGR 003), from 1995, and the third release that PFM produced, and will be one we review when we reach the LGR section of GLR.

   On Side B we have the tracks labelled and etched as the A Side for ‘The Western (Mike’s Ricochet Mix)’. It was the second release for P.F.M. on Good Looking Records (GLR012 on Promo/ or GLR 12 for the main release), in 1995 when the original of ‘The Western’ reached us.  My review for that one can be found in my blog under the catalogue numbers mentioned above. 

    One of the main differences is the beat intro  on this mix compared to the original. It’s clearly been designed for a very DJ friendly experience. Now, I’m no perfectionist on the decks, but the original had enough in it to make it mixable, but the work ethic drastically dropped on that front, for this.  Dispite this, it’s the music of the new Millenium and this sends all the right messages to those that still worship the original and those fresh faced to the sounds. It keeps the whipper snappers interested and us oldies reveling in the memories and stories that know doubt flood back when this drops. Like the flip side, the production is sanded and smoothed for a neat finish, although it was the edgy and more freestyling cracks on the surface of the ‘95 originals which will forever remain in my heart. 

   Kudos to Mike and the work on these, as I feel like if anyone was ever going to touch these, it could only ever be him. A big respects always.

   My blog is ticking along, I hope you enjoy reading some of it. Have a wicked weekend and spin those tunes! Next week we hit a different workflow with the label and gather some collections of CD’s to go through before returning to our last few vinyl releases on this foundational label. 

Good Looking Records

Makoto – My Soul

2003

For our next 12” single release, we have more work from Makoto, and a piece of music that must have been made around the same time as ‘Time’ & his ‘Human Elements’ album. It’s interesting that the draft art proposal of ‘Joy EP’, from Makoto was mentioning John B as the remixer of a track that never happened, and now here he is?

  While the track was not featured on an album it is a solid accompaniment to have and also has this pretty decent remix included from John B. 

    The artwork here is by Gareth Jones who was usually the guy that put out sleeves for Makoto’s work (apart from Levi Phillips AKA Blade who worked a little later with Makoto on ‘Believe In My Soul’). Here, it’s the varying beams of color that swish through the print of Makoto’s profile picture. The typeface on the front is again, in the style of a digital clock, liquid crystal display. I’m sure Gareth has more information about this work. 

   For the first track on this 12”, it’s ’My Soul’ on Side A, which I don’t believe features on any Prog Sessions mixes. The flip side does though. Makoto steadies the atmospheric ship here with one of those builds that leads to that hauntingly sung “My Sooooul” it’s one that you’ve most definitely heard (Earl Grey used it with ‘My Souls On Ice’, among several other usages by other artists). The main section of the tune is a really impressive dollop of well thought out breaks and percussion, a smooth running bass and then the pads wash in and out. This tune would have been a really impressive addition to the ‘Human Elements’ album, but luckily we have it to cherish on this plate. Makoto packed a really concrete slice of musical medicine here. I throughly enjoyed hearing this one again. 

   On Side B, remix duties fall to a producer who many of us are familiar with, for both his output in the D&B world and his extravagant presence. John B has been producing since around 1996. Here, we have a fucking top notch remix of ‘My Soul’ done with his less techno infused ingredients, and more his thunderous bass, and heavy pads armor. John releases the doves from the portholes of his mega metric planet, smoldering on the surface and strengthening within the clouds that stack up into the heavens. The way this handles the electronic drops of John’s 80s electro-trance utilities and empowers the track into a moving and power house of drum and bass is fucking insanely good. A big shout to John and huge props for the killer remix. 

  If you’re loving this one, it’s on Progression sessions 9 which has Makoto featuring this track in his mix. 

   That’s another of the artist 12” releases reviewed, tomorrow it’s onto the next one with a couple of reworks from one of the most prolific artists on Good Looking Records. 

   My blog continues to build on the Good Looking Records label, so it’s here if you are interested. 

Good Looking Records

Makoto Feat. Cleveland Watkiss – Time

2003

For the second 12” in the Good Looking Records “Single” series, we have another accompaniment to one of the artist albums released around the start of the Millenium. One thing that does surprise me is the three year gap between them? Big Bud has many tracks on his ‘Late Night Blues’ album that would have been interesting to have heard an alternative version of, from maybe one of the Earth artists. Anyway, it’s back to an artist that has been a big part of the reviews, especially over the last few months. 

    Makoto gathers together a group of musicians for ‘Time’ that not only lets us experience the live aspect of his ideas and talents, but also feature a guy who has one of the most impressive histories in music, across the board. Cleveland Watkiss. 

    Cleveland is one of those vocalists that brings early roots of his growing up in Hackney, London in the 60s and 70s and being immersed in the culture of the  Jamaican sound-systems. This led to him studying at college with voice coaches and opening up his broad range of styles. Cleveland has worked with a very impressive list of artists; The Who, Lisa Stansfield, Goldie, Nigel Kennedy, Keith Richards, Sly & Robbie (RIP  Dunbar “Sly”, now you can jam with Robbie up there), and Soul II Soul, among many, many others. 

     Cleveland’s part in the drum and bass scene has always been a major part of his world. The growth of the genre, being touched worldwide, has only increased his audience and popularity. Whether on stage with Grooverider & Fabio at The Royal Albert Hall, rolling out lyrics in Sardinia at Sun & Bass, or working with gospel choirs, Indian or Japanese bands or acting on stage, the man is a most deserved recipient of his MBE for his part in music and the arts. 

   Let’s not forget the other musician though on this release. Forever a favorite with Makoto, is Takashi Chida on guitar, who slots into Makoto’s creative flow to a tee. 

   Artwork falls to Gareth Jones for this release. Very much in keeping with the print style of Gareth’s work on ‘Human Elements’, the profile picture on the front, of Makoto, with those swirling patterns give us this juxtaposition of static movement, and the digital LED clock typeface font, connects ‘Time’ into the art. Makoto’s Japanese shrine style logo adds his signature to the sleeve. The back sleeve has a skyline with a superb contrast between the orange shades and white sky. I also love the fact the tracks lyrics are printed on the back too. I’ve put them as a close up in the photos. 

Here’s Gareth with more info:

“A few stand out memories on this one. The artwork from the LP was very much continued on the single, giving it a strong visual link. I always liked the little ‘T:I:M:E’ lock up too. This also has a video shot, which was a rarity for GLR releases. We had a bit of input into this but the director (can’t remember who) led this. It’s on YouTube so check it out. And of course that fantastic Cleveland Watkiss collab”

   Side A makes its auras sparkle a bright and fresh signal of musical heaven. Cleveland really steals the show on this piece of music ‘Time’. His lyrics hook you in so beautifully and it’s Makoto that builds his sounds around him. The concoction that develops as the track plays makes you want to open all your windows, hit the slow motion on life around you, just close your eyes, nod your head and click your fingers while the smile on your face spreads that extra bit wider. Even in January, summers here. Just remember your hat and gloves before you warm up from dancing to this. This version is the same version you’ll find on the CD of ‘Human Elements’. 

   On Side B we have ‘Time (Kyoto Jazz Massive Remix)’ where the Japanese electronic jazz duo visit the studio to spin their twist into things. Hajime Yoshizawa is laying down his Rhodes’s and Moog talents in here, along with his mix down of the track. Yoshihiro Okino of Kyoto Jazz Massive is also on production. It’s this version that sends a vibe that opens the lungs of the tune, allowing a breath of paradise to coast through you. Cleveland’s vocals return with his deeply meaningful and poetic style. That voice though. Wow.

   The pace here makes it a pure joy to listen to, holding the drum and pace tempo but stripping the percussion away and allowing this gentle, easy rhythm to glide through. Around half way we pick up the beats a little, causing the grooving and moving infection that’s inevitable on its way. The work on that bass guitar is a marvel to focus on during this composition of music too. You can find this version on the bonus CD of Makoto’s album, ‘Human Elements’.

   It’s releases like this that continued to prove that Good Looking Records was not all about the drum and bass scene. This journey was collecting a vast amount of cultural, social and musical diversity in connecting with the way drum and bass and the expanding passion for the sounds, was evolving. 

   My blog has Good Looking Records reviews packed to the hilt if you ever want to dive into your favorite and replay your memory banks. It’s right here. I hope you catch the ones you love and a few you may not know about. After all, that’s what it’s all about. 

Good Looking Records

LTJ Bukem – Sunrain Feat. Eliot

2000

Today’s review moves into the first of a selection of three 12” releases. The first one today accompanies a track off Bukem’s ‘Journey Inwards’ album, providing not just the version found on the vinyl, but also a remix that’s exclusive to this release. 

    ‘Subrain’ is a real gem, as it not only features one of the most laid back, summer vibed productions to come from LTJ Bukem’s catalogue, but it also has a sleeve that brings forward a homely feel for me personally. While I wasn’t a local to this area of (I think?) the GLR Headquarters in Watford at the time, it’s a picture on the front and back sleeve that reminds me of home a lot. The narrow streets, low sun beams and the Ford Transit sat in the driveway (I used to drive a transit when I worked for Ford from 1996 to 1999). There is a heap of nostalgia. 

    Nick Purser is the man behind the lens, capturing Danny’s pensive demeanor in the street outside. It’s not just the cool shots though, it’s the way the filter then creates the temperature of the picture perfectly. That British sun which provides us daylight but lacks the warmth it seems it should provide. I have to say though, when I’ve been back to the UK and those heatwaves have hit..let’s just say we’d be fucking miserable without A/C here in Texas.

Gareth and Nick both mention, “Man, seeing this one brings back serious memories… the shots of LTJ were taken behind the office on the little back road in Watford. Remember the day well, as Nick Purser worked his magic with the camera. Not sure if these shots were on our ‘massive’ digital camera that took floppy discs (oh yeah) or the manual SLR.”

“Can’t remember mate, but it was the end of the day as the sun was coming down so there were some great shadows and grain in the wood and brickwork. Dan was never very keen on getting his photo taken but you had to catch him on his flying visits to HQ!”

    Side A has the main version, the album version of ‘Sunrain’ featuring Eliot on the vocals. We reviewed this during the ‘Journey Inwards’ write up but I think it’s most worthy of another one here. Simon Vispi (Intense), is the engineering don behind this, as he also sat behind the mixing desk for a fair amount of ‘Journey Inwards’. The collection of musicians on ‘Sunrain’ is a super ensemble including Chris Campbell on guitar, Andy Ross on flute and sax (not at the same time though) and Andy Hamill from Flying Fish on Bass. 

  The whole tempo, takes a promenade down the most beautiful boulevard of contentment, warmth and feel good factors. So much life sits within this track, allowing all the juices and inner succulents to spill into your soul. 

  ‘Sunrain’ takes us into a Bukem VIP suite and rolls us the ultimate in blissed out exhales. Smooth, calm and serenely composed, Danny was dipping the musical ladle into a vintage claret of divine experience, inner spirits and widely appreciated styles. All testament to the man that provided so much to this scene. 

    On Side B, we have ‘Sunrain – Flying Fish Mix’ which is largely due to the fact that Andy Hamill who is the guy on bass guitar for the previous track, is one third of the Flying Fish trio, with Ed Morris (on the Rhodes here) and Malachi Trout (presumably where the whole fish part comes from..). During the Earth reviews on Facebook in 2023, a few words were written. I will be adding them into the blog at some point. This track is a real upbeat, snare-break delight, that’s clean and sharp. It’s a mix that has a more elevated funk diode, picking up that grooving bass, a percussion that’s the epitome of a rolling beat, and a soul slinging wagon that rattles and clatters along incredibly effectively. Flying Fish put together a fucking fantastic production here, which only makes me want to dig out their Earth tracks again. If you have  the ‘Journey Inwards’ album, then this is such a brilliant extension to have with it. A great twist away from the drum and bass and homage to the core of sound that oozes from the roots of many of the ideas within these tracks. 

Good Looking Records

Makoto – Joy EP plate 1

2004

Today we reach the last review for the Good Looking Records EP’s before we embark on the next section of the label. We have a few 12” singles to roll through along with a couple more LPs and then the Producer, Points In Time, Progression Sessions and another compilation. 

    I hope that your weekend was one that found the golden nectar of the music, at some point along the way? It seems to be the constant median for stabilizing one’s mind and while it allows that escape, it also makes you wonder if it’s the pinnacle of emotional stability. The variations in moods that you can pick out are like having all the medications of the world, at your fingertips. A pharmacist with the self medicating access. Let’s roll out this one today. 

   This is half an EP with just this one plate, and no artwork to accompany it. Gareth Jones did have plans for the art for this, which you can see in the photo below:

Makoto did put out another couple of releases in 2004, just before the label closed its doors for the first of its gap years, although 2005 did see GLR & ZYX combine for ‘Golden Girl’ in 2005. Makoto was definitely in his rhythm by now, being only the third artist to feature on the Progression Sessions series (Volume 9), which is another mix where you’ll find today’s music. The Instrumental mix is the intro track on that mix and then there is a vocal mix at the end of CD 2. 

    I also wonder if Makoto had the other two tracks lined up for this EP or he just held back until the ‘Believe In My Soul’ EP in 2007? Either way, I feel cutting a project in half is almost like Indiana Jones reaching for his hat as the stone door descends and he loses his arm. I know it was the labels control (or lack of), more than Makoto’s He still has another one but there’s an unbalanced feel. Maybe that’s a bit drastic but you get the point…maybe. 

    Side A is ‘Joy’ which is labelled and etched as ‘Joy (Vocal Mix)’. Alas, it’s the instrumental that is on Side A. As EP’s go, based on the tracks we’ve ventured through in this series, I have to say that this one is not a frequented disc. While it delivers a catchy a hook, it just seems to repeat it for the entire tune with the segments being dropped and lifted in and out. I love the frequency of the bassline, the funky guitar samples and the clarity of production, but Makoto’s catalogue leading up to this was a heck of a lot more creative and thought out. “Music is a joy”.. it is that indeed. 

   Side B is labelled ‘Joy (Instrumental)’ but is the Vocal Mix with Deeizm on lyrical duty having worked with Makoto on his ‘Human Elements’ album. Of the two of the versions on this EP, I’m going to say that the Instrumental is my favorite, which may be dependent on the mood I’m listening to these tracks? I think the Vocal Mix does flare up a bit of a live summer session which may sound more appealing to me during the summer? It doesn’t seem to bring the heat too much right now. Deeizm’s vocals don’t click too much for me when she MCs, but on this track she does bring a solid performance. 

    That wraps up the EPs. If you have a favorite, or fancy immersing yourself in some of the back catalogue of the Good Looking label, then my blog is here, so I hope you get the chance to read a few from the last few months and see some of the artwork that adds so much to the overall experience. 

Good Looking Records

Nookie – Free The Funk EP

2003

  It’s Friday, the weekend looms forward, offering you space to place more music into your lives. See what I did there? The Good Looking carnival of characters and concertos makes its way into the next section of this Nookie EP, ‘Free The Funk’, from 2003.

   Nookie had pretty much raised up into legendary status some time before this release. While it’s his solo work that remains as prolific as ever, many of his remixes hold a similar status. The age old question of “Original Vs Remix, is there a better remix than an original?”, is nearly always fraught with a lot more hesitation when Nookie is given the remix duties. I could give you a few right off the top of my head: ‘Inner City Life’, ‘River Nijer’, ‘Rebound’ by Personelle, ‘High Time’, ‘Flammable’ on Sub Base, and ‘Finest Illusion’ & ‘Soul Promenade’ which are yet another of the anthemic 10” remixes on Moving Shadow..the list is bloody extensive and nearly everyone of them is as good as the original for me. He is a producer with skills that are extremely rare, in that he finds the craft within every production. There are not many like him. 

   We hit the second record on ‘Free The Funk’ today and await no more the sublime work of Gavin ‘Nookie’ Chueng. Without further ado, let’s get this plate spinning on the 1210s. 

    On Side C, Nookie takes things into ‘Another Dimension’ in that special way of his, discharging a strand of inter galactic fibers out into a sermon of formidable functionality. Nookie’s balance of funky grooves and anesthetic comfort is typified with music like this. I also love the way the red images on this label reflect the main sleeves blue and red colours, picking up the theme of the EPs title font and little red DJ figure at the bottom, along with the communication symbols inside the gatefold. This music definitely brings a summer swagger into your life. 

   ‘Bad Habits’ on Side D is our final track from Nookie on this EP. The odd thing about this side is its switch to 45RPM for the last track. Whether this is the ‘Bad Habit’ in question and putting tunes on the wrong speed had become a habit, I don’t know? It’s one of those tunes that I put in the top tiers of Gav’s GLR releases though. Deeply infectious, incredibly streamlined and fucking world class engineering. The amount of electronic tinkering and techno tainted infusion in this piece of music is a thing of wonderment. The bass is also one of those teasing sounds which I feel has my bones itching with satisfaction. Nookie rolls out a real Percy right here. Amazing stuff!

    That’s the lot for this EP and for all the 2 x 12” gatefolds. Next week we move into a one-off Test Press of the last EP in the series, which got as far as the first 12” only. 

   Have a good weekend and spin those tunes!

Good Looking Records

Nookie – Free The Funk EP

2003

We reach the final double 12” EP today with our beautifully packaged gatefold sleeves. The year has moved into 2003 for this series, which saw a much slower output on the Good Looking Records label, before a 2004 pause in the organization and a 3 year gap, prior to the 2007 ‘Black & White Label’ era (my blog has those – GLR067 to GLR076, minus that TP of ‘Atmospherical Jubilancy’). 

   The artist who features on this review is no stranger to the label, or to our scene, even today. To have been so consistently on top of their game, for over 30 years, proves that there a very special gift with this guys abilities. Even if you look around at other musicians in any number of genres, keeping up with the peak of their ideas is something very few have done. Gavin Chueng has been pioneering from the start. Whether as Windy Milla, Cloud 9, Freddy Fuddpucker, or as his one off Second Vision which gave him his first release on Good Looking, Nookie has never been far from the main artery of magic. 

    Artwork for ‘Free The Funk’, falls to Gareth Jones again at the Good Looking Records studio. This gatefold sleeve has some much closer profile shots of Gavin, than any of the others. No protruding nasal pellets or strands of eyebrow hair flicking out of place (which I’d probably have, ha ha)! The backdrop provides one of those moments that I can gaze at, out of airplane windows, forever with music playing. Much like the coastline, it makes sense that there’s more beauty in this world than we sometimes appreciate. The collage of runway, travel markings, the arrowed signs that lineup along the right side of the inside gatefold, all provide this traveling theme. Then  that little red logo of a DJ, on the front and inside left gatefold, is a cool touch too. 

I’ll let Gareth roll the story of this one.

    On a personal note, I want to express not only my thanks for all the additional information from both Gareth and Nick, but also thank them for sealing in this series, as one of this most impressive packages of music and art that were produced, in our scene. The words, video clips and not forgetting their continuing art and music projects of today, all deserve the upmost respect. A huge thanks to you both and keep up the good work. 

     Let’s get cracking with the music. This was Nookie’s final solo production on Good Looking Records after 4 years of working with the label, as both Second Vision & Nookie. He did do a ridiculously impressive collaboration with Conrad Blame in 1997 under the New Balance name on Looking Good Records too, which we will review during that label. We’ll get to it eventually (but I do actually feel like moving onto the next label now…it’s been 7 months of GLR). 

   Record 1 has ‘Heaven’ on Side A, unspooling a pick up in BPM as the scene was sliding toward those liquid vibes. Nookie was keeping those live sounding jazz breaks fresh, the harmonies of sound working and setting the standard for pure acoustic contentment. This is one of those tracks that has the rhythmic temperament to move you while the pads, the airy feels and blissful wonderment send you back into the cosy corner of chilled, calm escape. ‘Heaven’ isn’t one of those pieces that shouts its presence from the rooftops, it’s more a structural necessity which flambés the sounds and serves something a little more enriching. 

   On Side B, we have the track ‘Pet Sounds’ which releases a wave of that Nookie leverage from the first trap being clicked open. Soothing pads, that electro twang, the synth key riff and to be honest, with that in place in the first couple of minutes, the tune you already know, will be something of sheer class. This is a Nookie delight in my view, straddling the secret worlds of the new sound, with the proud magnetism of those classic, deeper sounds. The breakdown will have you sinking further into that state of mind you have been searching for. A devastatingly high end piece of music. Make every moment of your week, a lazy Sunday morning and check this out. Just try and remember it’s not Sunday after you finish listening to it.. or not? 

   That’s our first record reviewed on this ‘Free The Funk EP’. Record 2 is up tomorrow. 

  Blog is here. You know the drill if you want that plunge back into the Good Looking Records catalogue. It’s not over yet either. 

Good Looking Records

Makoto – Musical Message EP

2002

For the next record in Makoto’s ‘Musical Messages EP’, we have two more of the lively, jazz funked compositions that flourished that Makoto tonic. Of the two tracks for today, the first one is another that you’ll remember from Progression Sessions 6, from the year prior to this release. Bukem and Conrad were releasing those sessions as gospel to the atmospheric and drum and bass community. 

   Going back to the artwork, the labels themselves hold a really nice collection of images. Plate one has the shades of blue with that Makoto lettering and the portrait print too, splashing a slightly darker tint into the color and then on this plate, the darker claw clutching image that looks like two creatures devouring each other. The image on Side D is so incredible, on the way its static position still gives off a movement within its design. I swear it looks like it’s moving at times…and no, I’m not on drugs. 

Gareth explains a bit more about the art:

“Always loved the colours and use of white on this one. At the time, I was exploring various visual themes for MAKOTO, and I liked the idea of his silhouette being presented a bit differently than some of the other artists. The visuals in and around this (and on the gatefold) were all about some kind of abstract floating orbs. They were manipulated images taken of either a super old Mac (?) or this speaker system (?) we had, another case of using everyday objects we were using in the artwork department.”

   ‘Inside Your Love’ has an immediate smirk widening across my face just with those pumping and grooving beats. If you whack this one up loud and close your eyes, you’ll leave the ground and soar up into a viewpoint of breathtaking beauty. The rich soils spread out one way, the dense forests the other and the hills puncture the horizon with a saw like outline. You have the sun directly above you all the way through this tune, casting the smallest shadows and not a cloud to be seen. The breeze blows through and the vibrational waves pick up a new gust of life. There’s no question about it, that tunes like this had a colossal part to play in how the liquid sounds were crossing the plains of the scene. 

   The next track on the EP is ‘You Make Me Feel’ featuring (as with the last track), Takashi Chida on the guitar. Takashi worked on several pieces of music with Makoto, across Good Looking, and Earth. This track is a wonderful piece of music, swinging in one of those humming, background bass lines that I always love hearing on Makoto’s work. The electric stabs, rapid percussion, “you make me feel” vocal and the whisked in cream of the pads, bring a super flavor to this. “Mesmerize”.

   I really do love this one on the EP, as I feel it bridges the gap between Makoto’s most impressive Good Looking work, oiling up his springboard into the new direction of his music. It’s a real peach this. Get down and roast up the floor to the core. 

    Makoto will return in a couple of days time, we have one more fully released EP to review before then. Tomorrow, it’s back to another high frequency artist on the Good Looking label at this time. 

   If my blog is something you’d like to check out, it’s here, so I hope you enjoy reading some of it? A big respects to the many folk who reach out with their enjoyment, reading it. It’s an equal amount of enjoyment putting them together. 

Good Looking Records

Makoto – Musical Message EP

2002

Pushing on through the many sounds and musical wonders of Good Looking Records, we now feature our penultimate gatefold EP in this series. Makoto’s productions had become a rather large wave of work around the early 2000s, with a style that harnessed his jamming, jazz flavors and live elements. While this allowed a lot of his music to hit the listeners, there was also a little bit of cookie cutter sounds that made it more difficult to extract the real golden core of his skills. I’m a big fan of Makoto’s work, but I have to say that it’s nearly all set between 1998 and 2005 where I find the nutrition and creativity at its most appealing. 

    Gareth Jones is on the art detail for the ‘Musical Messages EP’, with a portrait, print shot of Makoto and those visually striking 3D ovals and whirling tentacles that resemble half machine, half sea creature. The colors blending from a gold to light blue add a warmth to the art, keeping this calm appeal. The art seems to capture a slow motion movement, turning and whirling its natural force into our view, drawing in the sounds that make this music lock with our psyche. 

    We have four tracks on this EP, three from the Japanese drum and bass producer and the a remix of his, of an MC Conrad track that featured on ‘Logical Progression – Level 4’. Makoto did actually remix ‘Futures Call’ for the ‘Logical Progression – Level 4 (Remixes)’ LP, which was only stated as ‘(Makoto Remix)’. On this EP it’s titled ‘(Makoto’s Tokyo Soul Remix)’ but I’m 100% sure it’s the same track. If anyone picks up on a variant in the tune, let me know. 

   On Side A, is a tune that is titled after a phrase that I can’t deny in any way, shape or form. ‘Music Has Never Let Me Down’, is a sentence that rings true for a lot of us, having lived through half of our lives with the culture and lifestyle of then and now. Life happens around everything else and it’s the wall of vinyl that acts as an emotional therapy session depending on the mood. The music on this side elevates one’s mood on that swaggering, rhythmic deluge that Makoto was making at this stage. It’s a finely produced track, snapping breaks, the constant pads and a riffed bass that always branded the tune with that Makoto seal. If it’s the midday sun that’s basking across your body, and the movement locks you into a state, then pop this pill of soulful, liquie-jazz music. 

   Side B is ‘Future’s Call (Makoto’s Tokyo Soul Remix)’, originally written and produced by the late, great master of many ceremonies, Conrad. Conrad has been such an important feature of these Good Looking Records reviews, not just with the lyrical flows of gold, but the productions across a few of the labels stables. As with Makoto’s studio sessions across the field, the hook up with these two and the jamming just intensifies the more this track plays. The snare led percussion, funky bass guitar from Ranvir Verma (who I know is laying down those head nodding string plucks with Conrad in the sessions up there), cruise along the backstreets and up cruising the boulevard on the shoreline, blinking lights one side and lapping waves the other, presenting the meeting place of all the good times.

You can tell from this piece of music how much influence and respect the two of them had for each other, putting this together and also dropping it out and about. Progression Sessions 6 is also where you’ll find this track too. 

    Plate one complete, we have two more tracks to review on this EP, tomorrow. 

If you have a spare minute or two in your day, my blog has a lot of Good Looking Records reviews on the site. I hope you get the chance to look through some of them on this site. Enjoy!

Good Looking Records

Nu Moon – Into Planet Tree EP

2002

This week takes us to the final week of full Good Looking Records EP’s with the second half of the Nu Moon EP, ‘Into Planet Tree’ then a dance through (and a decent gallop through the music), onto Makoto and Nookie. Next week we will finish the EP reviews with the one disc of Makoto’s Test Press of the ‘Joy EP’. Then it’s on with the next block of reviews, on this mighty label. 

    I hope your weekend has been one that gave you the chance to listen to some quality music, and the levels of existence seemed to mean something that little bit extra. Rising above the mess and confusions, it’s the music that’ll keep things within our perfect escape. We had a slight freeze here in Texas but stayed warm and sheltered. 

   The cutting edge vibes that Good Looking Records had spun over the last 10 years had pretty much solidified its place in history. You could say that even after 3-4 years, that their output had changed the way drum and bass could open up new pathways of perception and gratification. It’s with the ongoing pleasure of putting these reviews up, that this trek along the path of the label, makes its way forward. 

   Today’s review rounds off the Nu Moon EP, ‘Into Planet Tree’. On Side C we have a piece of music, titled ‘Stone Venus Unknown’. The background behind the title is one that I would love to know more about. Venus is a rocky planet and I’m sure there is a story behind the connection. Just listening to the tunes though, is one that protrudes this swirling, acidic layer of gases that shields the tense, lava spitting terrain below. ‘Stone Cold Venus’ shuttles the exploratory craft within the contours of the planet, rolling a Cosmik wielding bass which sounds incredible. Pure live bass jamming to the max. As beats go, nothing explodes with wonder but those pads sit like the feathers on a breath of the lightest air imaginable. 

The breakdown realigns the traveler’s navigational compass to sweep down, absorb and ignite an intake of the golden sounds that these guys produced. Breathtaking music. Check the percussion blitz at the end of this one too. Sweet touch!

   Track D holds the title track for this EP. ‘Into Planet Tree’ embarks on one of the most epic pieces of music in my mind, ever made from Nu Moon. Taking those classic bell chimes (á la – Omni Trioesque / Bukem Music style-e), the tune twists from this light wispy track into this darker dive, kicking up a brilliant rhythmic onslaught, with those croaking electronic voices and a build that blows your fucking mind. This tune rolls up the sleeves, takes off the watch and hits every single nerve in your body with a touch of unbelievable brilliance. If you still don’t feel numb with the transfixed state by this far into the tune, the breakdown will be the final straw. The pads and that fucking relentlessly pounding bass, have this hypnotic pull.

   Now, call me a little backwards but I’d put money on this one being ‘Waltz For Danny’ as the bass is a nod to Music as are the chimes. So does anyone else back this up as a mislabel? I can’t think of it being anything but a tribute to Bukem. Rightly so, it’s a spellbinding piece of music. One that shakes its varnish of triumphant finesse into your mind, and changes your life. Pure fucking class. 

   That’s the Nu Moon EP done, dusted and thoroughly enjoyed again. A big shout out to Simon and Steve, and the work they put out, wherever and whatever they are up to. A mighty impressive catalogue that is confirmed with all the tracks on Good Looking and on this EP. 

  Tomorrow it’s onto a familiar name on the GLR roster. Until then, I hope you get to roll through some of this blog that’s been building over the last few months, covering Good Looking Records. There’s plenty here if you would like to scout back and read some.