[soundcloud width=”100%” height=”81″ params=”” url=”http://soundcloud.com/paperecordings/feel-your-love”]
Classic PAPERecordings release Don’t Fuck With My Shit by Dirt Jesus has been picked up by Juno Records. The controversially named Dirty Jesus aka Erik Rug and Marc Collin were one of the many acts to release on the label, and their classic proto nu- disco track Don’t F*ck With My Shit was recorded in one take in the studio, played with real instruments and mixed down live. Between them Gerard Black and DJ Harvey (appearing here as RV Cock) have years racked up making and playing music, their twisted sense of humour and encyclopedic knowledge always on display. With Gerard in the UK and Harvey in the US there was a flurry of long distance phone calls and bouncing back and forth of files, and after their initial collaborative process on the mix they were all set to go off and do the fine tweaking of each one solo. Black Cock rises again – no fluffing required.The RV Cock remix starts with the kind of percussion so indebted to Harvey’s life in Hawaiian paradise that it all but dons a loud shirt and offers you a cocktail. However this is quickly overshadowed by something altogether more menacing, as dark, slow, spacey synths come to the fore. By the time the ethereal vocals and horns come in, Harvey has lulled you into a druggy stupor – before dragging you out of it with one final bass drop that is sure to tear the roof off after-parties from London to Honolulu. Not to be overshadowed, Gerard Black chips in with his own sterling effort, with squelchy acid house bassline and busy drums. Rather than bombarding the listener, Black creates a sonic landscape in which every sound matters. This is sleazy-as-you-like discofied house – exactly what you’d hope for and expect from the legendary Black Cock crew.
The first of Pete Herbert’s two remixes of the gloriously and impeccably titled Don’t Fuck With My Shit features a lazy bass guitar bouncing off twangy keys. By the time the tumbling piano lines come in – and Herbert does make you sweat on it – hands are well and truly up in the air. Part Two, instead of making us wait on the piano, brings it in immediately. It playfully jostles for attention with that addictive guitar hook, and this time Herbert teases us with a bassline that takes nearly two full minutes to kick in. When it does, you have a track that is positively dripping with a sublime piano-driven house sound that is sure to get even the most ardent chin-strokers shaking ass.
Get it Here http://www.juno.co.uk/ppps/products/383785-01.htm
Life loser, failed Super Hero and dis-reputable alcoholic Flash Atkins has managed to temporarily get his shit together and use his superpowers to create a fantastic video for his brand new release, The Sweetshop.
The Sweetshop (Pick & Mix) has got lo-fi bass, crunchy drums and snapping synths all topped off with 70s crooner Caspa Codina’s sleazy falsetto; it’s pop music with a knowing wink and impeccable 80s credentials.
The video (http://youtube.com/flashatkins) for The Sweetshop is completely unique and turns social networking on it’s head; In a world where all the ideas have been used up, this is a NEW ONE! It takes a sideways look at Facebook / YouTube / My Space / Twitter and filters it all through the seedy world of Flash Atkins.
Remixes come from producer of the hour Medasyn with a big room electro mix complete with crowd noises, dirty distorted basslines and 80s arpeggiators Magik J does his hypnotic heads down thing with a vocal and dub suitable for those darker moments. The tracks mix up fidget, techno and house, guaranteeing full floors and thrown shapes.
The single is out on general release on March 22 but in the meantime you can hear it all on http://soundcloud.com/flash-atkins
So hop on board Flash Atkins’ booze wagon and see if we can’t chance The Sweetshop in to world domination! Flash will personally let you buy him a drink when you next pick him up out of the gutter.
Sign up to our Newsletter
Paper has been pushing all things deep house and disco from the furthest reaches of the world via the good old North of England since the early Nineties.