A Mighty Force Indeed

I don't know how Mighty Force manage to keep the quality of their output as high as the quantity of their release schedule but it's good for all for all lovers of electronic music that they do. Mighty Force was originally a label and record shop, based in Exeter from 1990 to 1995, then moving to London until 1999. In 2019, after a twenty year gap, label boss Mark Darby started up again and since then has put out umpteen digital and physical releases including albums by Long Range Desert Group, KAMS, Boxheater Jackson, Golden Donna, Fluffy Inside, David Harrow, Yorkshire Machines, M- Paths, SubDan and Myoptik to name but a few as well as a series of outstanding samplers and compilations. The entire post- 2019 back catalogue is at Bandcamp. Dive in and pick one- you really can't go wrong. 

This year Mark has seen the release of several albums already. In January D3's Acid Love came out, a nine track tribute to the life affirming and regenerative powers of acid techno, an album with huge bass, thumping machine rhythms, acidic toplines, a love letter to 303 and 808 madness. Follow Me opens the album, a  statement of intent. Acid Love is here. 

In March Virgo's Starta Waves saw the light of day. Virgo is Yakasuta Sato- the album is twelve tracks of superb electronic music, a heady combination of acid, techno, ambient and IDM, music created for home listening/ driving/ headphones, a journey into lush synth sounds, drum pads, throbbing bass and dancing acid melodies. Fictional History cuts the tempo and sets the controls for the heart of the somewhere far from here. Track titles Rift In Time, Days Of Exploration and Zoetrope all perfectly match the sounds they were named for. Strata Waves is here. 

The most recent release is brand new this week, an EP of three new tracks and three remixes of Horizontal Rain from Reverb Delay's album from last year, The Storm Has Passed. The trio of remixes all take the original into new dimensions, launched from the same starting point- Reverb Delay's Detroit and Birmingham inspired dub techno- and firing off into other areas. Paddy Thorne's remix raises the bpms and the intensity while colouring everything with beautifully rich synth washes and chords, atmospherics and rhythms together. 

Reverb Delay's Marcus Farley brings a pair of his own remixes, the Parallel Mix and the Ar Right Angles Mix, rapid fire drums and psyched out synths, the latter a ten minute version. The three new tracks are: Sisters & Brothers, Martin Luther King being deployed in a 2025 techno protest against the forces of Trumpism; Escape Pod which sets out tense and dramatic, then finds itself becoming more light and airy, all the while the drums rattling away; and Shadow Dance, a frantic dance into the dark. The Horizontal Rain EP is here. 

V.A. Saturday

This Saturday series is jumping around all over the place, a celebration of the various artists compilation album, something that when done well is as good as any 'proper' album. Recently I've posted Lenny' Kaye's mid- 60s garage and psyche rock extravaganza Nuggets, a pair of Andrew Weatherall collated compilations (9 O'Clock Drop and Force Tracks), the Detroit techno classic Retro Techno/ Emotions Electric and Colleen 'Cosmo's Murphy's Balearic Breakfasts. Today I offer you a Bob Stanley and Pete Wiggs modern classic, their 2022 compilation Fell From The Sun, an album that is very specific in its parameters spanning a period lasting two years (1990- 1991) and solely tracks that are at 98 beats per minute. 

The lost in ecstasy face on the front cover, snapped at legendary London club Shoom, gives more than a hint at what's inside, fourteen slices of blissed out, shuffling, slightly woozy, indie- dance crossover/ straight dance music from the early 90s, a period where there seemed to be exciting, genre busting, record deck hogging 12" singles released weekly but also a time when tempos were suddenly cut, where the paced slowed and people took a breather before heading back to the floor. Bob and Pete were part of the scene, Saint Etienne releasing their own contribution to the scene in the form of their cover of Neil Young's Only Can Break Your Heart. Fell From The Sun opens with Primal Scream's Higher Than The Sun (Higher Than The Orb), a record that redefined Primal Scream as a band (something that Andrew Weatherall had already done not once but twice wit their previous two singles, Loaded and Come Together). If they'd stopped after Higher Than The Sun, it would have been enough, a sun dappled, sky scraping ode to becoming unlocked and going with the flow, of losing oneself in the moment. Bobby Gillespie isn't always the man I'd go to for lyrics but Higher Than The Sun is close to perfection, 'My brightest star's my inner light/ Let it guide me/ Experience and innocence bleed inside me/ Hallucinogens can open me or untie me/ I drift in inner space free of time/ I find a higher state of grace deep inside'. 

Higher Than The Sun (Higher Than The Orb Extended Mix)

Spaced out sounds and whispers swirl around, a faint pulse bumps in, and a rising synth line appears and then the rhythm gently kicks in, as Bobby coos 'I believe you get what you give', and then organ and drums and woooo sounds. Saxophone. Eight minutes of bliss. 

After that Bob and Pete guide us through a version of 1990- 91 at 98bp, stopping off for the mighty Cascades by Sheer Taft, The Grid's Floatation, Saint Etienne's glorious B-side Speedwell, One Dove, Transglobal Underground, BBGs Snappiness and The Aloof and finding room for a few lesser known gems- Elis Curry's U Make Me Feel, Massonix's Just A Little Bit More, History and Q- Tee's Afrika. 

The track titles alone conjure up the look of 1990- white Levi's, Travel Fox and Converse, long sleeved t-shirts, boys with centre partings and shoulder length hair, girls with short hair, dungarees, football shirts, Happy Mondays t- shirts, Spike Island and Kate Moss on the cover of The Face. 

Towards the end of the album are this pair of tracks. Firstly, I Don't Even Know If I Should Call You Baby by Soul Family Sensation, a British trio switched on by Chicago house in 1989. They split in 1992. Johnny Male went on to Republica. Guy Batson worked with Saint Etienne. Singer Jhelisa Anderson sang with The Shamen on LSI. None of them ever sounded better than on this song. 

I Don't Even Know If I Should Call You Baby

Fell From The Sun closes with Moodswings' Spiritual High, a cover of Donna Summer's State Of Independence, with a typically 1990 drum pattern, Chrissie Hynde, loved up synths and keys, bouncing bass, rattling rim shots, a wheezy organ, a choir, tumbling piano chords, and eventually, finally, Martin Luther King-  Grant Showbiz (a former Smiths and Billy Bragg roadie) and drummer James Hood creating a sound that is the very essence of that period between early spring 1990 and autumn 1991.

Spiritual High (The Moodfood Megamix)

A Nice Little Pub In The Middle Of Nowhere

More golden age hip hop for you today but seriously less angry than Public Enemy's 1989 single Fight The Power that raised the temperature here yesterday. I've been meaning to write about De La Soul and their thirty year old debut album. I was listening to Eye Know recently and it sounded ace, really fresh and inventive. But instead today we have De La Soul's Native Tongue's compatriots A Tribe Called Quest. The group's debut single I Left My Wallet In El Segundo came out in 1990. A year later it was remixed by the then fairly unknown Norman Cook and this version was put out as a promo. Norman samples/borrows liberally from/rebuilds the song entirely around Donna Summer's State Of Independence. El Segundo's rap is led by Q- Tip, whose lighthearted drawl sounds wonderful. He narrates the story of coming into some cash, heading south to Mexico and the dangers that lie within- buying gas, eating enchiladas and at the moment of payment being so distracted by the beauty of the waitress that you forget your wallet. Easily done.

I Left My Wallet In El Segundo (The State Of Independence Mix)

As a bonus track here's Donna's sublime early 80s single. State Of Independence was written and originally recorded by Jon and Vangelis. Donna recorded and released her take on it in 1982, a lolloping reggae based groove with sunshine drizzled all over it and Quincy Jones at the controls.

State Of Independence

Bonus, bonus track. In 1992 State Of Independence was covered by Moodswings, laid back, downtempo house groove with Chrissie Hynde and Martin Luther King on vocals. Moodswings were James FT Hood and Grant Showbiz. Grant spent his 80s being road crew and guitar tech for Billy Bragg and The Smiths.I'd imagine being a roadie for The Smiths involved moodswings on a daily basis. The version here is nine minutes of bliss.

Spiritual High (Moodfood Megamix)

1989 Another Summer, Sound Of The Funky Drummer

Here's today's post which didn't publish this morning for some unknown reason.

The ultimate extension of Keith LeBlanc's 1983 Malcolm X record was this, the motherlode of righteous hip hop, the pinnacle of Public Enemy's career, the greatest protest record of them all- Fight The Power. One record pulling together the history of the civil rights movement, the upsurge in interest in Malcolm X, Spike Lee's film making, The Bomb Squad's screaming, pummeling production and Chuck D's angriest, most on-point lyrics (the verse that goes 'Elvis was a hero to most but he never meant shit to me, straight out racist that sucker was simple and plain, motherfuck him and John Wayne, people get ready 'cos I'm black and I'm proud, I'm hyped and I'm amped, most of my heroes don't appear on no stamps' is as good as it gets). Again, not on the hard drive but do you want the full seven minute version of the video? Yeah, boyeee!



There are some technical gremlins loose in the machine- yesterday's video won't un-embed.

Let Freedom Ring

To start the week, at what can be a bit of a miserable time of year, we need something soothing and uplifting. Moodswings were a late 80s duo made up of Grant Showbiz (formerly roadie and guitar tech for The Smiths and Billy Bragg) and James Hood (drummer for the Pretenders and Kid Creole and The Coconuts). Inspired by club culture, sampling and all the rest they made a very of its time album most of which still sound spretty good today although the drums have dated. It's a datedness I like admittedly. The 1991 single Spiritual High married that Soul II Soul drumbeat, Jon and Vangelis, Martin Luther King and Donna Summer with Chrissie Hynde on vocals.



This dubbed out nine minute version is a delight and a pick-me-up.

Spiritual High (Moodfood Megamix)