DJ Alex Corton – Good Looking Records

Good Looking Records

Nu Moon – Into Planet Tree EP

2002

We reach the end of another week of connecting some sort of spiritual and unquestionable link between the music that continues to astound, fulfill and inspire, to writing some of the shit that goes on in my head while listening to it. It’s Friday and it’s time to turn our focus onto this next EP.

    Of all the Good Looking Records EPs on my shelf that make up this block of yellow spines (plus that one blue one…thanks Blame), this one here was one I took a while to get hold of. It finally made it to me about 13 years back, and took me toward the completion of this EP series. At the time, it had soared up in price so when I had the chance to strike, it was like a mongoose to the king cobra. I believe it’s a bit more obtainable nowadays. The EP is one that has become a firm contender as an essential member of the family of releases in the series. 

    The last time that we reviewed the talents of Simon Murrell & Stephen Kite, was on GLR050 with ‘Submergency’ and before that, on GLR047 from 2000. This duo have a back catalogue that includes some mighty fine music, which leaves many of us in disbelief that there was so little material. Nu Moon had skills which saw them not just produce exquisite atmospherics, but they are one of the few artists to have a track on Deep Rooted, (Bukem’s Deep House section of the label, and one that’ll be in the blog at some point). We also have the joy of them featuring on one of the Studio X2 releases that are heading our way, soon.

    Artwork for ‘Into Planet Tree’ falls to Gareth Jones, who chooses this almost citrus plumage of color with that lemon and lime punch on the front cover. The image on the front cover may be tough to decipher, however once the gatefold is opened up you’ll work out that the F-14 Tomcat is where the picture lies. Is it a transformer Gareth? Ha ha.. those swing wings and the Airfix models of US fighter jets I built as a kid, pay there dividends identifying it. 

    The collage of grass and ocean, scoops in small cuts of that natural world and then the typeface is yet again superbly layout. Lower case artist name (and that cool Lotus badge style of “nu moon”) and the uppercase EP title. It’s the fine touches that make all the difference. Gareth mentions:

“Ah, my favourite ‘transformer model’ based artwork to date, can’t remember how that became a thing, but I decided on a concept that involved shooting said transformer model in the artwork department. If I remember rightly the building shot was from Nookie who had recently been in New York (guesses for what building…) And then the merging of the two, along with the ocean imagery. It’s quite out there, and the timing of the image was bizarre given the world changing events that unfolded around the time we did the artwork.”

Big shout Gareth!

   Side A has our first track and the title pays homage to the man behind the label. Danny Bukem. This is the second track by a Good Looking artist to pay their respects to Danny in titling a song after him. 10 points if you can name the other?… Yes, PFM ‘Danny’s Song’ on Logical Progression. Your 10 points aren’t getting you anything anyway, except a couple of claps. Were there any others?? I don’t believe so. Let us know if one slipped through the net. ‘Waltz For Danny’ slowly presses the brake pedal of life and draws to a cushioned halt, opening up the windows, the sunroof, then removing the whole body shell, as the waves of some other worldly presence, cover you in a way you’ll have never experienced. This track is a bloody crown jewel of music, for the expanding minds and the soothing soul. While keeping to a drum and bass tempo, it’s got all the flips and frolics of a track that you’d be accustomed to on the Earth compilations. The dense layers of pads and the relaxed guitar flicks serenade you in ways you’ll revel in. At around the 3/4 stage, the break fills in with more percussion, rounding off a fine piece of work. Nu Moon took the exquisite touches that they had built over the years and produced this pure beauty of a tune. An ode that Bukem must surely have taken to heart with some admiration. 

    On Side B is ‘Like This’, hitting that kick drum and assorted plethora of percussive variants in style. Once the track kicks off, it’s that bassline that swallows so much of the sweet musical gravy. The ebbs and flows of ‘Like This’, carry you into the depths and forests of the untainted miles clutching you to the cradle within the atmospheric clouds. This track proves yet again that the value and creativity of ideas in the scene during 2002 was at an impressive level. The music has always been there, no matter what the year. 

I have to give a big shout to both the Nu Moon boys, wherever and whatever they are up to nowadays. Hopefully one day they catch a strand of the love and respect that so many of us feel from their music, that they relight their passion by connecting again or diving into that attic for lost DATS. It’s a long shot but then again, 10 years ago, a lot of music and musicians we thought had been lost to the ages, have found a huge appreciation nowadays. The history books and musical journeys feed off those heroes of ours from yesteryear. Our wiser heads are screaming “Thank You!”

    That’s plate one rolled out. I hope you have a superb weekend and we’ll get the second plate reviewed, Monday. Be safe out there to my fellow Texans. The winter storm is lurking for this weekend. Get that music into your ears and leave the crazy outside. It’ll make a decent backdrop for the tunes I hope. 

   My blog is here if you are interested too. Then if you can’t drive anywhere, you’ll have lots of reviews to gander through. I’ll be writing more anyway. Catch me if you can! 

Big up to all! 

Good Looking Records

Rantoul – Distant Constellations EP

2002

Our next disc in Rantoul’s ‘Distant Constellation EP’ features two more superb tracks. It was kudos to his skills that he had the chance to output two EP’s in this series. There were a number of artists at this time that could have been chosen to have material released; Pariah, Intersperse, Nu Moon, J Laze, Kyro, Pete Rann and Greg Packer where all churning out brilliant work in 2002, each would have been a most appetizing project for an EP. Like I’ve mentioned previously, the 2002 clouds all had very bright silver linings. 

    Let’s dive into the first track for today, which is ‘Mayday’ on Side C. A title no one really wants to hear if the pilots left there intercom on. If you’re reading this on a plane, don’t worry as there have been 5 car crashes globally since you started reading this paragraph. If you’ve just landed, drive safe. Where were we…’Mayday’ sinks its teeth onto a waterfall of high hats and echoing stabs that launch the “Mayday…Mayday!” voice, opening up to the footstep tremors of bass and the tripping break. On the odd occasion the machine rears up its snarling jaws and glowering stares, from that acidic growl, however the delicate and empowering way that this track straps you in and settles you down, wins every time. Rantoul releases the ambient powder from his capsules of atmospheric medication. The breakdown will transform your whole frame of mind and you won’t want to let the music finish. Rantoul takes you out to drift without the need to return. A fucking beautiful piece of music. 

    On Side D we welcome the track ‘Passenger’ which keeps in the transportation framework of the titles on this EP. ‘Passenger’ ties into the calming and floatation effect that this EP resonates out in abundance. I always thought of the tracks on this EP as less futuristic than Blame’s and Future Engineers, but more about the memories of the journey in reaching that visionary setting. The tracks here are the moments you reflect with, the mind casts its way back into the steps that brought you here. The experiences, challenges and the cherished recollections which you have kept, while others are no longer around to accompany the ghosts of your life. 

  The breakdown on ‘Passenger’ is a stirring of the emotional palette, that spins a reel of acoustic wealth out into the cosmos. The energy flows and you’ll revisit the music here again and again. 

   A tremendous EP this from Ian Rantoul. Huge props to him and thank you for these timeless and inspiring tracks. Forever enjoyed! 

   Rantoul will feature again when we reach Nexus Recordings with his track ‘Testing’. Then there’s also that expected AG010 press of ‘The Peasant’ which lined up for an Okbron release in the future. All eyes, ears and elbows are on high alert for that one!

     A big shout to Ian Rantoul. Tomorrow we move onto an EP in the series that I had to do a fair bit of hunting for, some 13 years ago. Until then…

Good Looking Records

Rantoul – Distant Constellations EP

2002

We now get to the remaining reviews in this series, entering into 16th of the sequence of Good Looking Records EP’s. Having these records with the gatefold sleeves makes for such a treasured collection. Together with the Earth releases and Cookin’ it brings an extra layer of meaning to many of the pieces of music. 

    Ian Rantoul is up with his second EP in the series, following his ‘Changing Landscapes’ EP on GLREP008V, from 2000. If you missed the review on that one, it’s on my blog posted below, which is compiled by catalogue number. Ian had been producing music for around 4 years by this time, having released on Good Looking, Looking Good, Nexus and of course the Ascendant Grooves label, which we are looking out for as a release through Okbron in the coming months. 

   The artwork for this release falls back into Nick Purser’s art studio, providing one of the most peaceful works in the series. The front cover holds a moment that views the expanse of sea and sky, while the inside gatefold sweeps that panoramic horizon into the 24 x 12 frame. Nick mentions, “Cover Pic was taken in Barbados from a helicopter ride and the second from a bluff overlooking a beach.” I love the number of figures in the picture that seem to be looking out, mirror imaging our own view. It’s one that you can’t put down! The rolling waves provide their own internal sound as they conjure up the atmosphere of the shot. 

   The back cover of this gatefold has a lot more going on. Space shuttle prints, and snapshots that I’m sure you can shed more light on Nick, and then at the bottom on the rear sleeve, that guy with a headset on? Or is it a wooden spoon? Ha ha! If you have the video mate, I’ll load it into the post and onto the blog too. I always love hearing your and Gareth’s background on the work. Respects. 

   ‘Luna’ is up first on Side A of this Rantoul EP. Rantoul had fine tuned his craft to a soaring standard and broken the seals of atmospheric splendor in a big way. The synth sounds in ‘Luna’ play a huge ode to Future Engineers in this track, spilling a galactic foray into the clamoring lobes of your brain. As beats go, it really lays a relaxed and flowing rhythmic simplicity, with nothing too outstanding, just a shuffling roller which helps support the faint pulses of the musical dreams that convex through your mind. If you’re after that cool-down, easy soother to float unobstructed into the heavens, you’ve found it here. 

   The mastering of this release is yet again, in the very expert hands of Shane McEnhill at MPO. The sound is as you’d expect is top notch.

   On Side B we have a title I’d love to know more about the background behind. The music on this immediately flips a switch inside my head and has me hooked. ‘Nersa’, opens up the gateway to voluminous pads, one of those exquisite Rantoul piano taps and a soulful, reverberating bass, keeping the brainwaves peaking and transitioning in the most harmonious and satisfying manner. The tracks on this plate alone, make the artwork connect the more you listen. Rolling, expansive and incredibly fulfilling. We strive at times in our world, for the release of so much stress, pain and confines that we sometimes need moments with tracks like this playing with the record sleeve in our hands, to remember that the beauty and relief is never really too far away from us. Music may not cure all our woes but it’s a bloody good drug in my world. 

   This release places Rantoul’s growth, creativity and bandwidth into the hall of fame of Good Looking Records in my books. There are a few artists I’d have loved to hear an album from on the label, he was without doubt one of them. 

    Big shout to Ian Rantoul. 

   My blog has all the EP’s so far, along with the Good Looking Records back catalogue (of those on my shelf, which is a fair few). I hope you get to dip into your favorites and then peruse some you may not know about. The link is here, thanks for checking it out!

Good Looking Records 

Future Engineers – Technetium EP

2002

As the surrounding voids of complete desolation and suffocation compress upon the hurtling materials of this cargo, it’s the invisible connections which leave us the remnants of a broken world, carrying our homesick vessels into the age of the future in drum and bass. The question, like that of the small child in the back seat, is, “have we arrived yet?” Well, that’s for you to decipher. Music will always strive to connect us with memories and the present. Some music turns that into another dimension, straining out the pollution of unrequited existence and reaching the glimpses into the next era of sensory climax.  

    Future Engineers had not released a track on Good Looking until this EP. While they did release on Looking Good Records with the mind blowing ‘Timeshift’ in 1999 and then a few subsequent releases in 2002, it was also the work on 720 Degrees in 1999 that to me, fit their glove of ideas the best. Having their work in this series though was a stroke of brilliance, mainly because the label benefitted in including this style within its pasture of the organization. By 2002, Blame had taken his 720 hamper away from Good Looking, so Future Engineers were the connection now, between this futuristic, sci-fi sound and the label. As Lee mentions though, “The tracks on the Technetium EP were originally scheduled as 2 x 12″ singles on 720 Degrees.” Of all the Future Engineers’ work, this one hits the realms, casting revolutions of the orbits in the suburbs our universe. 

    Side C is switched to 33 RPM from the first disc which is 45 RPM. ‘Technetium’ is a really interesting track, containing those addictive and catchy acid enriched sounds and a beat that will completely throw you with its pattern. The bass wraps itself around the percussion, pulling up the cloak of disguise and peeling back the sleeve of circuitry, redirecting the flow of current and lighting up a hidden board of new wave information. The breakdown about 3/4 in is so fucking good too. The whole piece seems to eject and float out into this stillness of space-sea and time at this point, providing a surrounding of breathtaking universal imagery and auditory paradise. 

    ‘Vanishing Point’ on Side D, has this tiny white stickered circle on the centre hole. I don’t know if it’s due to a tiny off-center or not. Anyone else have one? The music on this side is probably one of my favorites on this EP. All the matter is taking any one of the billions of lines of perspective toward an unknown black hole, pulling in every molecule on a unique and perfectly balanced trajectory. In relation to its placement, the understanding of the perfect route into this unstoppable vacuum becomes less a straight line and more a spiraling convex of mathematical provocation, than a linear formula. Time practically reverses as you enter the dense and fracturing center. The rebirthing of a cosmic body, splits the possibilities of our own life and the species we are yet to comprehend. Where living is structured in a way we will never grasp. ‘Vanishing Point’ walks you through the gallery of gaping soundscapes while the Future Engineers tonic, forever whirls within the space of our lifetime. 

     This EP really deserves so many props in its quest to spin that tilted accent to the music of this time. It’s an EP that to me, stretched the boundaries much like Blame. Lee and Kier managed to combine that experimental tool box with the foundations of their sound to bridge a spatially expansive story from the drum and bass world, into a reel of epic story telling, through their composing. 

   A big respects to both Lee and Kier. Keep pushing those sounds and I look forward to hearing your next installment from the Transference stable. I hope these words project just how good these tracks are. Big up! 

   My blog is building, with the Good Looking Records reviews. It’s included here, so I hope you have an opportunity to scroll through to some of your favorite releases on Good Looking Records, and reminisce on the love of this music. More to follow! 

Good Looking Records

Future Engineers – Technetium EP

2002

As the sand drops through the glass, the onward journey through this incredible collection in the series of EP’s on Good Looking Records moves on. I hope that your weekend had those special moments to wallow in the music of your desires. 

   This next EP I always felt was something of a mixed reaction by many. The reason being, that the direction of the artists seemed a little different from the previous outings. It was one of those catch 22 moments, where the expectations from the discerning listeners were conflicting the evolution and vision of a fair few music writers of this time. The consensus with a lot of historians in the jungle and drum and bass world was that 2002 was a tough year. The funny thing is, if you dig with any sort of “Bagger 293” you’ll turn up more than using a fucking tea spoon. It’s effort, and lo and behold, there are some sublime pieces of music out there. Including this one today. 

    When I reviewed the 720 label and Ascendant Grooves, on Facebook a few years back, (both of which will hit my blog in the future) the Future Engineer boys, Lee Batchelor & Kier Cleminson, had already built up a staggeringly impressive catalogue of work. It was the culmination of studio creations from the early Renegade Recordings   in 1997, up through to the works on Tayla’s Nexus label in 2000, that brings us to today’s music. Future Engineers have a way to balance the meticulous circuitry of a future technology with a rhythmic buzz, of fluid and ever-energizing grace. 

    The artwork for this EP was in the hands of Gareth Jones, and for me, is one of my favorite of the series. First of all, that typeface layout of the artist, and titles, is so simple and incredibly classy. Then we have the cool little space invader characters at the bottom of the front sleeve, which must be an ode to Lee & Kier? The imagery on the front and back sleeve, is where the real impact lies, with this giant, cylindrical, metallic colossus, which depicts this force of strength, and immovable magnetism, while the possibilities of it spinning and creating enough fusion for another solar system, lies within. Now though, you’re going to tell me it’s the inside of a cheese grater, Gareth?! Ha ha! 

   The inside gatefold provides the communication between the machine and the human touch. The microchip of messages that stretch deep into the links from our conscious to the unthinkable magnitudes of a new world. 

   It’s also worth noting that the collaboration between Gareth and the Future Engineers, is still occurring to this day, on Transference Recordings. Go check that out.

Gareth adds, “So this was probably the start of my ongoing collaboration with Future Engineers, which is still going strong to this day. As with the music, the aesthetic was obviously futuristic and technical. The artwork had this very industrial outer image which linked to the EP title, whilst the inner had this kind of abstract skyscraper scene bathed in that pop of red (very different to the outer sleeve!). The inner was classic ‘making magic from the mundane’ as I took shots of stacks of CDs in the office… There were numerous designs for this.”

This cover alone, transfers the way Future Engineers were moving, and that’s where we begin these 4 musical stories. 

    The labels have another twist in the design thread for this release, with an abstract, litho print look using what looks like, the FE initials in places. Side A is where you’ll see this, on the photo (included). The beige color works really well too, giving this retro/classic look which piggybacks off Nick’s previous art on Blame’s ‘Firestorm’ EP. The label at this time had swung into the black and gold styles in the 12” singles releases. The vintage look was in the blood stream of the organization. 

    Let’s get the music rolling. Side A settles into a slowly rotating satellite of intrepid mechanics. While the static placement within space, counteracts the high velocity of the craft, it’s the billions of messages being reflected out that hold the heartbeat of the track. ‘Spyglass’ has its frantic scouring for the portholes of leaked information, searching for the molecules of disruption in bouncing back the shrouded figures, tipped hats and raised collars of the secret underworld in the new galaxy. Future Engineers were docking their work into Blame’s space station of forward thinking, evolving productions that stretched way beyond the knowledge of our time. It’s this sound that I feel people missed the point with, but you have to realize, it’s still such a strong Future Engineers’ sound and it was moving through the gateway which Blame was moving. At the time, it was a harder sound to truly understand, but listening to it today, 24 years later, it really holds its chest puffed out and a mighty fine presentation of unique and beautiful music. 

    Side B, sends us the manic tapestry unraveling ‘Source Code’. That Future Engineers bass line punches out those orgasmic, alien growls while all rhythmic duties display that tremendous force of the mineral compounds mixing with the acoustic fluidity of a rich, vibrant reactive sauce. The beats build up with that added snare overlay and high hat festival, moving this magical message of wonder, in the most seductive and intimate style. You cannot doubt that this work is from the FE boys, lifting up the shells of emotions and dreams and releasing the spirits of the light in our universe that are yet to reach us. Outstanding work! 

   I have to give a massive shout to Lee and Kier at the globally connected Transference HQ and their continuing work still making that cutting edge music and building a community of talented artists along the way, via their hub of production and studio sessions. It’s always great hearing the work coming out! Big up every time!

   The next plate is up tomorrow. I’m itching to get into more of this one. Go revisit it, and remind yourself why this work sounds so fucking monumental. 

Good Looking Records

Blame – Firestorm EP

2001

It’s Friday and the week heads into its checkered flag day. The label still has a few more reviews to go, so more quality music on the way. We have the rest of the EP series to go through, some 12” artist works, the Studio X vinyl and then I’ll round off with the Points In Time CD’s (not the vinyl as i have them all on 12” single anyway), and then the Progression Session CD’s. I don’t even know what label is heading up after Good Looking. Ha ha! 

    The blog will probably stop after the Good Looking Records Label and then I might kick another one off on another label in the future. One thing I will be doing though, is adding the 720 Degrees (while under GLR), Ascendant Grooves, Blue, Cookin’, Deep Rooted, Diverse, and Earth labels into the blog, so it contains more of the world of Good Looking Records. Then there’ll be Looking Good and Nexus to follow, in conjunction with these dailies. I’ll let you know when I add them.

    Today we spin the second plate on Blame’s ‘Firestorm’ EP from 2001. In 1968, the film ‘2001 Space Odyssey’ depicted a vision of the future, 33 years ahead with the mind of the machines controlling humankind. Well, it was a different kind of control that occurred during the sound displays from Conrad Blame. This was the art of a producer who we haven’t caught up with yet. The future is out there and we just creep a bit closer each time. You have to say that they’re a rare breed of artist that have made this leap ahead. 4 Hero, spring immediately to mind, but I’m sure you’ll drop some more in folks. The will of the experimenters and risk takers that dared go there, reaping the fruits that many fell flat with.

    Side C has Blame unraveling his midas touch with ‘Mechanism. 02’. If there’s a tune that places you in the heart of the gargantuan machine, then look no further. The way this slowly lights up the giant pistons, cogs, valves and hyper rolling drive belts, leads the listeners toward an immersion in steel, smoke, oil and a formula of furious sounds. Blame was channeling this lavish energy in ways that the cyber intelligence couldn’t cope with. He had such a fluid and hi-tech style, it stood out in its own unique way. Utterly blistering! Blame mentions, in making ‘Mechanism. 02’, :

“I remember Mechanism almost sent me insane. It was a month or so spent sampling little toy car and robot noises, and then somehow trying to figure out how to turn all that into a track!”

   Up next to round off the release, is ‘Lifeform’, on Side D. Here we catch tiny fragments of the echoes that hit our receptors. Blame dials up the future inhabitants that bear no resemblance to anything we can detect with our senses. The airlocks have clamped closed, the decompression chamber has extracted the oxygen and the hatch has drifted away from the cabin of sanity. Tubes flail, the lights blink erratic rhythms of multi functioning chaos. Nothing stands between the chemical matter of all we know and the eternal depths of a universe that remains incomprehensible. Blame takes the reformed illusions and places them on this 12” as only he can. 

    That’s it from Blame on Good Looking Records. A huge shout to Conrad for such incredible music.  One thing is for certain, you have no shortage of material across the labels on Good Looking from him, to hone in on whatever your mood or frame of mind. 

    We’ll be back next week with three different artists, two of which make their only venture into this series. You will not be disappointed. 

   Have a great weekend and keep drip feeding those musical vibrations! 

  My blog is rolling too, so go check it out. Thanks to everyone who takes a gander. Here it is if you want a peak. Respects! 

Good Looking Records

Blame – Firestorm EP

2001

We now return to the sounds of the future, with the man like Conrad Blame. This EP is the final Good Looking Records release from him, that we’ll be reviewing. His work on the label became the perfect springboard for him, taking his ‘Visions Of Mars’ sounds right up to the music in today’s review, working through these ever evolving portals of discovery. 

    Blame will feature in a lot more reviews, so don’t use too many hankies. We have a ton of his remixes as there’s the label where his career really began blooming. Moving Shadow. I may need to put a different blog up for that. Working with technology for me is sometimes like trying to get the cast of Last of The Summer Wine, to trial for the Olympic Games. An uphill struggle (without hurtling down a hill in a metal bathtub). Not tried that one yet. 

   Artwork for this EP falls back into the hands of Nick Purser. The link for the video is here:

https://www.facebook.com/share/r/1C9X3egEkC/

The profile pictures of Conrad, with that 3D colour block rendering is a superb touch and that 12 x 24” inside gatefold harks back to the way graphic design programs could weave in the tools that we found so advanced at the time. There’s a real classy feel to this one though and those beige, sand and tan shades pop out next to the black background with that little, three level logo. This translates to the front too, where the small logo has the three brown shades again. Blame’s name in lower case works really nicely too, next to the uppercase ‘FIRESTORM.ep’ text. 

  The four tracks on this EP all feature on Blame’s, Good Looking Records album (GLRMA004), ‘Into The Void’, from 2002, which was the only one of the artist albums to not get pressed on vinyl. This release was really acting as a sampler for that album and provided enough of a tasting session to move forward with purchasing ‘Into The Void’ in an instant. It was really special to have these four pieces of music available to spin on the decks though. 

   Having already bunched a very brief review of the tracks on this album together on the ‘Into The Void’ write up (written in the blog below), it’s now time to dissect and forage a little deeper. ‘Firestorm’ is first up on Side A, generating the static and electrical charges that ignite the particles and extinguish the acidic compounds that burn through the fragile layers of the bruising cold front. Blame presents a sound that at this time, had materialized into this event of bewildering nature. It almost took itself away from the genres we had, creating this sci-fi, technologically advanced system of beats and sounds that matched the pace of drum and bass, but was more a rapid galactic, light year resolution of electronic experimentation during the flight of some unreachable time in the future. 

   For the B Side, the ancient monuments that stand silent in the dense and tropical climates, act as towering shadows in the dawn mists, only releasing their colorfully tiered status as the beams of the low lying sun, strike the faces of these spiritual Goliath’s. ‘Forest Of Pagodas’ catches the orchestral winds in full swing here, as the wisps of that killer bass cement things together. The pipes and bells along with those eerie cello strings bond in this almost religious foray into the magical foresight of Blame. This track is like a Hitchcock of time capsuled experimentation. Music that stretches beyond our understanding, and psychologically puts you in the grips of a doctored balance between the unrequited knowledge and the sordid secrets of the damaged. 

   Blame does it once again. What a blistering set of tracks! 

  My blog is here if you want to catch the ‘Into The Void’ write up, along with this one. It’s all input via catalogue numbers on this site.

     Plate C / D will be up next. Ez all. 

Good Looking Records

Nookie – Oceanic EP

2001

For our second record on Nookie’s ‘Oceanic EP’, we have two more essential pieces from Gavin and tracks that any Good Looking fan from both sides of the Millenium, will love. Both tracks featured on Good Looking Records compilations, the first one on the compilation disc on MC Conrad’s, Logical Progression Level 4 (taking the original and adding vocals to this version), and the second track being on Progression Sessions 6, mixed by LTJ Bukem with the lyrical genius of MC Conrad (RIEP).

    Shane McEnhill is the mastering legend behind this one, Mr. SMC and one of the members of Sub Sequence on Tooz Up. He had his hand in a few of the cuts on GLR and of course has that ‘Shane The Cutter’ and ‘Finyl Tweek’ name that I’m sure is stocked on many of your plates. 

  Let’s rollout Side C with the track ‘Think About (Vocal Mix)’, sending out that nerve racking, suspense, so tender hooks at the ready. 

   The beats in here are something else. Full on drum funk baadness! The dance floor will ignite with these beats. The bass guitar then puts its foot through the door of the arena and all chaos breaks loose. Pure, unfiltered jamming funk that explodes into every nook and cranny. The vocals add a sweet touch of soul in the piece, that adds a splash more muscle tensioning, gripping that uncertainty. Nookie finds this balance of darkness, and pure, brake failing, bobsleigh hurtling energy along with a vibrant bubbling of funked up jazz. This is one hell of a piece of music. 

   On Side D, the sun dips down below the horizon and the nocturnal stirrings awaken for their light redacted day to begin. If you thought the beats in the last track were a dance floor pick me up, then check the ferocity and levels of fusion in these! Nookie extends the plateaux of the unthinkable with ‘Solstice’, unwinding the horizon out further and sustaining the radiance of the setting sun. Every moment of ‘Solstice’ locks you into this beautiful setting of heavenly equilibrium, from the infectious pads and synths, the earth trembling bass and brain thumping beats. This track is one that kicks off in practically any set, so go slap it on the decks again and get it out there! Priceless, timeless and pure fucking genius. 

   Gavin was pressing the buttons on the bridge with grace and confidence, guiding his ship on its trip through the musical galaxies, claiming his place on each visit. Hardcore rave..done. Jungle and drum and bass…done…Atmospherical outreaches…done. Down tempo jazz fusion…done. He’s now hurtling through the sounds of 2026 and guess what? He’s top of the game yet again. Not many can match that. Hats off every time. 

   We will have one more EP from Gavin before the end of this series. We have a familiar artist on the label coming up next. 

   In the style of Monty Python.. “It’s…”

Good Looking Records

Nookie – Oceanic EP – Side A / B

2001

The adventure propels us forward into the world of Gavin Chueng again today, with his second EP in this Good Looking Records series. Nookie was burning up the atmospherics around this time, taking those years of experience and developing that quintessential vibe. 

    Having unleashed on labels such as Daddy Armshouse, Symphony Sounds, Reinforced, Moving Shadow (where he also went by his Cloud Nine guise), and Urban Flavour, plus the fountain of remixes under his belt, Nookie has this way of extracting a sound that seems to barnacle itself inside your head. The music that he makes leaves its impression, creating this free flowing access to memory recall of his work, like no other. I can already hear two of the tracks from this EP playing in my head right now. They were just hanging out in my mind and now look, here they are, following the sleeve being pulled out the cover, triggering a response that conjures up those addictive and transporting memories. 

  Nookie’s ‘Oceanic EP’ holds a few real treasures on here. With two of the four tracks being featured on Bukem & Conrad’s ‘Progression Sessions 6’ and another version of a track from Logical Progression Level 4. It was a shame that the ‘First Light EP’ fell between the fifth and sixth Prog Sessions volumes, as I feel the tunes on there were less acknowledged. Still, we have this one today to enjoy. 

   My copy is No 001744 out of the alleged 3000 editions of limited production. I know it’s just a number, but if you are like me and take pride in the ownership, it has a small amount of meaning. Most of my tunes though, don’t need a number. 

    Artwork duties fall to Gareth Jones for this stylish gatefold. The sense of visions through the eyes of the machines rollout the blueprints of engineering. The back cover transports you through the aqua terrains and dreams, unifying the stillness of the oceans, and the rhythms of the music. 

   Profile pictures of Gavin with those cyborg stances and adorned shades, bring that futuristic, scientific dose of the musics foundations on the EP. He’s on the mission to make your mind wander. You enter into a calculated and chemically entranced voyage into the spectral systems, which the artwork compliments together with the tunes, to a tee. The blend of sound engineering and the future machines, is grasped. Here’s Gareth with a bit about this artwork:

“I think the most obvious thing here was the need to tie it into the In@thedeepend LP, so stylistically the EP was very much in the same world. We had the same great shots of Nookie (think we did them at the GLR offices) and you can see the ‘mirrored’ visual inside the gatefold, which of course was central to the cover artwork of the LP. I wanted this to feel obviously futuristic and cinematic, whilst having that human element at its centre (the photography of Nookie). I like the type on this one too, can’t remember if this was a font or a bespoke build… need to dig deep into the memory banks for that.”

Thanks Gareth!

   We kick off this EP with a belter of a track that was a classic inclusion as the intro on Bukem and Conrad’s Progression Sessions 6, (Live from America). ‘Continental Drift’ ploughs you into the convection currents that circle on the underside of our land, shifting the scab like, wafer thin crusts that sit on the surface of Earth. The intro is one of those shorter looped collections of deep, whirling pads, synths lit up like a Griswolds house, pushing its way through your head with each repetition. Nookie unleashes a hook that you could listen to for days. The beats carry you through the backstreets of the underworld while the bass keeps the smoke filled doorways, in the shadows. ‘Continental Drift’ is a rock hard diamond of the music at this time. Nookie was fucking blowing things up, like always. 

   Starting an EP on such a top shelf track, sets the standard. ‘Our Love’ is probably the one on here I don’t think springs out at me off the top of my head. It’s like I’ve just brought a new tune then isn’t it? Cool! ‘Our Love’ takes this lounging attitude and hands it a solar facing deck chair and a cocktail, to settle into its electric, future jazz mode. The little acid drops in the track and that groove filled bass guitar steal the show here. A vocal chirps in with “Our Love” here and there. I do really love that little chime loop too that has this air of someone sprinkling a salt of musical seasoning in, and then realizing there’s a few grains left in you hand, so you just brush the last few in for its crescendo. 

    Nookie’s catchy, funky and gifted talents are yet again on hand here. 

  The following record is up for review tomorrow. Until then, my blog has some Good Looking reviews if you care to step back into the last six months of my work on this label. 

Good Looking Records

PFM – Val Sinestra EP

2001

It’s week four thousand, six hundred and bagpipe cleaner of my reviews, which tells you quite clearly that I have not kept any idea of the number it is and that I’m slightly mad. That’s not what this is about though. The mad bit might be, but the calendar not so. The quality of records, the unearthing of long lost feelings and memories, together with enjoying the process of taking each one of these items off the shelf, photographing and writing as the music plays. That’s the thrill and enjoyment. Whether it be a tattered paper sleeve housing an old white label, or a pristine gatefold of art holding a beautifully labelled treasure, the journey of sights and sounds continues. 

The reviews may halt for a couple of days, however the work on these over that time is usually pretty intense. I do spin some tunes though without tapping the keys, for a couple of hours. That always adds a relaxed and much needed spell of wayward thought drifting. Speaking of such music, we continue today with the majestic and legendary sounds of PFM. 

   ‘Val Sinestra’ on Side C brings us a taste of a rather flamenco tempered piece of music which is odd in that the area (as mentioned on the last review), is in the Swiss Alps. Regardless of this minor twinkle, the whole track here is just fucking delightful. The way it builds up and then opens it the heavenly pads, light rhythmic flurries and the harmonious key changes, is tear jerking.

The bass has some of that Basement sound with the electro taps while the sub bass clicks in when the beats pick up the pace and everything forms into this Adonis of chilled, ambient bliss. We have here a track that redefines the way PFM made music. It’s one of the most chilled and relaxing pieces in the entire catalogue of PFM’s work. 

  It really pushes up the bar, lays down the breaks and sets alight the synapses with a vengeance. 

   On Side D we have ‘In Love (Garage Mix)’ which is probably the one I play least to be honest. Now, don’t throw me in the stocks and pelt me with rancid vegetables, but I’ve never clicked with the whole garage scene. I know it was a big part of the garden that the drum and bass tree grew in, but I never had the passion or drive to venture into it. Nevertheless, as tunes go, and knowing the original which was played a fair bit, this is not a bad alternative version of ‘In Love’. If you’re after a track to get the last of the night ravers out the club and get the venues personelle to switch the lights on now the daylight pours in, this rattles of an easy going off-shoot to mingle and meander home. 

   I doubt it’ll be spun too many times again by me, but then, when you have such a leviathan of an EP with the other three monumental compositions, you’ll not worry about this one anyway. A classy EP that kept the PFM adoration flying high. 

   A big shout to Mike. More from him in the not too distant future.

  Next up, our next EP in the series.