Category Archives: Genuine Guy

20 Jazz Funk Dates

Sometimes it’s hard to be a blogger. As the 36-times recycled air in your netbunker begins to scald your already desacated lungs, one starts to ponder what life is like ‘out there’. When the unshorn proportions of your yellowed nails prevent you from downloading that next zipfile, one begins to wonder if time spent outdoors with a beautiful lady, might be more exhilarating than owning some douchebag on a Chillwave message board. Trust us, we were once that bearded wretch with an RSS feed hooked up directly to the vein, and even though the sun tears through our retinas like some long-banned form of medieval torture, it’s good to get out once in a while.

But it’s not easy to meet girls in this day and age. This is why, in our continuing stream of cynical money making schemes, we have started a 20JFG dating service. Already we have filled a 1TB gigaserver full of the details of gorgeous women you can meet, and some of them even gave us permission to do so. Sign up free (for a limited period) today and our highly advanced algorithm will pick you a guaranteed life partner on the basis of having 3 superficial facts in common. Not only that, but using next-century Musicblog (TM) technology, our mainframe will also be able to select the perfect record with which to woo your date, should you be lucky enough to get her back to your place.

So let us introduce a couple of the lovely ladies you could meet today. Female readers worry not, part 2 of this series is coming as soon as we have finished compressing all our Hunkdata into easily uploadable Manfiles (.MAN).

Meet Wendy. She’s 26 and works in the accounts department of a small law firm. Her hobbies include badminton and fine wines. She says her ideal date would be to spend an entire day stalking the living, followed by dinner by the river. She would like to meet an intelligent man with a good brain and warm, tasty flesh. Let’s see what tune A.L.A.N. (that’s the name of our server, no idea what it stands for) has picked for guaranteed seduction.

Ben Butler and Mousepad plot an uncharted course between the spare time experiments of bearded Open University maths lecturers circa 76 and a strain of synth funk that’s so illicitly wonky that it can only be practiced by Norse clerics in remote scandinavian villages. Oh, and did someone say prog? We already brought you BBMP mark one some time ago. Now they are 2 with a ramped up live show that’s akin to watching Yes had they listened to Remarc and replaced Rick Wakeman with Herbie Hancock in an unrelated move. ‘Future Tent’ comes skweeing in from a slightly mellower plain, skewing our dancefloor into a very definite 45 degree angle, sending all manner of airbrushed pastel solids and pixelated 8-bit robo-warriors sliding into the disco lights of the hired DJ on the other side. Future Tent is out now on Norwegian label Dodpop, a split 7′ with Sprutbass.

Ben Butler and Mousepad – Future Tent

Of course, if things don’t work out with Wendy, she does have a sister.

Ben Butler and Mousepad – Future Tent (Genuine Guy remix)

In fact she has six. Ben asked many of his favourite craftsmen to rebuild his Tent in the way they thought best providing A.L.A.N. with 6 suggestible tracks with which to woo Wendy’s many siblings. Visit the BBMP Bandcamp to pick them all up for free. All of them are or course, awesome, but here, because his sinister presence lies behind the shadowy cover of this post,  is a low-res version of the Genuine Guy mix. Let us here no more about it.

Meet Jane. She’s 41 and is the regional manager of  a well-know retail chain. Her hobbies include bell ringing, spells and the occasion game of Bridge. Her ideal man is someone who enjoys being strung up by the feet and tortured mercilessly for hours on end before being sacrifice to some obscure, inverted pagan demigod. A tough one but we programmed A.L.A.N. to be infallible so let’s see what he’s got for us.

Both Rocha and International feel have had offerings made upon this scuffed-up webslab before. IFEEL appear to be absolutely hellbent on peppering the entirety of 2010 with unbelievable spacejams that we can never resist sharing and the new Rocha is no exception.

Rocha – Feel the Love (Joakim ‘Its’s so Real’ Remix)

Joakim turns the original into an rave odyssey muted by baroque disciplines where clavinet players 200 years apart do battle across time, their analogue stares meeting to create a window through we can see scenes from a cybernetic remake of Dangerous Liasons where Aristocrats faces to reveal a mass of sparking circuitry after being slain by a troupe of time travelling disco hippies who weren’t too keep on their bourgeois styles. Joakims’s mix of Feel the Love is being released amongst a plethora of other amazingness upon 2 x 12’s very soon. Pick em up here.

Pod 167-42a is Missing

Featuring : Genuine Guy + Podcast

Hello fine sirs and sirettes. Normally the weekend pages of this readily expanding tome are intentionally left blank, so that you may ponder the many errors of our ways. Whilst you are doing this, we covertly fill our knapsacks and check our mantraps for sustenance that we might gorge upon at the bloody feast that is the following week. We have however, amassed too many a posh mixtape to be contained within the five working days of tradition, and so now may they encroach the forbidden zone.

We shall begin with one of our own number. Genuine Guy is a life-form grown by scientists on the underside of a Beibalkun Whale. After being bumped from its netherside in an unfortunate collision with a Fantasto-Bru (TM) freight vessel, his energy satchel fell to the planet Theramed-6 where he was raised by feral Pigmalds. After several years of training he fell into the loyal service of King Gossdram XXII, leading his many armies into battle with sworn enemies, the Brigadeers of AH. He was hailed as a hero by the Theramedians, but unbeknownst to them he was secretly addicted to the unpronounceable black market chemical ‘vuciovucxi’ and liked to spend his spare time dabbling in the forbidden art known only to us as ‘music’.

After the king walked in on him in the middle of  jacking-up a particularity large dose of vuciovucx with ‘Slippery When Wet’ playing full-blast in the background, he was sent to Exilemoon gh-172 where he spent 3987 cycles in captivity. During this solitary confinement he recorded this mix by coagulating the binary information found in the atmosphere of this desolate digisphere. After being finally rescued by the scientists that created him, we are now able to present this selection of smooth and skewed popular party jams for your Saturday night escapades. Genuine Guy now lives with his wife and children in Kent.

Genuine Guy – 20jazzfunkgreats mixtape 2


1. Clunes feat Genuine Guy – Finality 2 (demo)
2. Love club – Hot Summer Nights
3. Crash Course in Science – Flying Turns
4. Slyck – Love it
5. Octet – Euros vs Dollars (Pilooski Edit)
6. Electra feat Tara Butler – Feels Good
7. Deutsch-Amerikanische Freundschaft – Kebabträume (7′ version)
8. Ruffy and Tuffy – The Pound of Re-rock
9. Ronnie Jones – Video Games (Genuine Guy edit)
10. Holy Ghost! – Hold On (Mock and Toof remix)
11. In Flagranti – A Little Something ‘extra’
12. Shirley Lites – Heat You Up, Melt You Down
13. Roberto Ausler – Got the Flavour
14. Hungry Ghosts – Don’t Eat the Apricots
15. Rudy Manning – Let’s Boogie
17. Conrad Schnitzler – Das Tier
16. Hype Williams – Get Choong and Look at the Sky

The Trained Ear

The Raga is most ancient, and spiritual of practices. Passed down from master to pupil over many centuries, it takes several years to master its enlightened intricacies. According to the liner notes of 10 Ragas to a Disco Beat, ‘a typical Raga ensemble consists of a vocal or instrumental soloist, a percussionist on the tabla or pakhawaj, and tanpura players who produce the typical drone sound with floating overtones. From the 16th century onwards, performances of the Raga would often take place in the courts of maharajas and Mughal emperors, lasting through the night until dawn, when the mind is at its most perceptive to the sublime shadings of the music. Developed by the saints, sages and bards of India, it remains a spiritual form of music today, its essence being the worship of sound as the all-pervasive core of existence’.

Electronic House music is a slightly less ancient, but equally spiritual of practices. Passed back and forth between the US and Europe over the last 30 years, it takes slightly less time to master its subtleties. A typical House ensemble consists of a TR-808 drum machine, Juno-6 synthesiser and TR-303 Bassline Generator which produces the typical bass sound with modulating frequencies. From the late 20th century onwards, extended mixes of individual recordings would be played in the nightclubs of the people, lasting through the night until dawn. Developed by the saints, sages and bards of Chicago, it remains a spiritual form of music today, its essence being the worship of rhythm as the all-pervasive core of existence.

Charanjit Singh – Raga Megh Malhar

We greatly thank Bombay Connection for dropping this amazing gem of an LP into our laps and letting us heavily plagiarise their beautifully written liner notes. This simple idea to set Indian Classical music to the beat or European Electronic disco creates many subtle sonic complexities. 10 Ragas to a Disco Beat was recorded 1982, during the spare time of Bollywood session musician Charanjit Singh, who managed to smuggle some of Roland’s magic boxes into India. Hard to believe because these mind colouring acid trax are comin’ straight out of the future.

We cannot pretend to be well versed in the sacred art of the Raga so this review requires a certain degree of duality.

To the Trained Ear

‘Despite the fact that it is played on unconventional equipment, this performance of Raga Megh Malhar by Charanjit Singh is very proficient and respectable. Even though Charanjit plays a progression of the notes ‘Ga-Ma-Pa’, which traditionally do not belong in this raga, it can be considered experimental music, which allows for Mishra ragas, variations on ragas. Megh means ‘cloud’ in Sanskrit: legends say that this raga has the power to bring down rains. It has a somber atmosphere, reflecting the awe that the heavy July-August monsoon rains inspire, and therefore it begins with synthesized thunder sounds.’

To the Untrained Ear

Because is is played on the conventional equipment of Acid House, this performance of Raga Megh Malhar by Charanjit Singh is a  proficient and mesmerising piece of psychedelic dance music. We hear the thunder claps from Acid Crash, the high NRG basslines of Robotnic, and the floating analogue pensives of the Crystal Ark, who graced our pages only last week. It has a somber atmosphere, reflecting the awe that is inspired when we listen to it.

10 Ragas to a Disco Beat has been lovingly rescued, restored and reissued by Dutch label Bombay Connection. Out this week, you can pick it up in all good record shops.

And while we are on the subject of lost dance anthems, many of you old enough to remember may recall the dance mega-hits of Snap!.

To the Trained Ear

1986 erschien unter dem ein Jahr zuvor gewählten Pseudonym OFF/Organisation For Fun die von Michael Münzing und Luca Anzilotti gemeinsam mit den Frankfurter DJ Sven Väth in Frankfurt am Main produzierte Single “Electrica Salsa”, die ein Club-Hit wurde. Münzing, Anzilotti und Väth kannten sich da bereits aus ihrer Arbeit als DJs bei der legendären Diskothek Dorian Gray am Frankfurter Flughafen. Münzing hatte vor OFF bereits unter dem Pseudonym CUARE Schallplatten beim Discomusik-Plattenlabel Westside veröffentlicht. Fast zeitgleich mit dem Erfolg von OFF etablierten Münzing und Anzilotti 1986 ihr eigenes Musiksikrojekt 16 BIT in den deutschen Charts. Die 16 BIT Single “Where Are You?” erreichte in Deutschland und Frankreich die Top 20 und ihr Nachfolger “Changing Minds” stieß ebenfalls in der Bundesrepublik in die Top 20 vor, so dass beide ein 16 BIT-Album unter dem seltsamen Namen “Inaxycvgtgb” nachschoben.

To the Untrained Ear

‘Rhythm is a Dancer’ was all over the hit parade when 20jfg was a lad, we thunked at the time that this was a product of America due to the convincing use of rapper Turbo B and creative pseudonyms like ‘John “Virgo” Garrett III’. Snap! was however the brainchild of German Techno producers Michael Münzing and Luca Anzilotti and before Snap! they had many hits which seemingly never made it more than a a few miles outside of the Bundesrepublik. Where are You? was a top 20 smasher in both Germany and France, and its existence was unbeknownst to this quasi-lingual Anglophone up until a couple of weeks ago. Really we could do nothing else than share this amazing video. Thanks to my new flatmate for discovering.

16 BIT – Where are You (Instrumental)

Stripping away the theatrical irono-preacher telling-off to look under the hood, we find a most hypnotic of pulses. A proto minimal euro-dance opus, which once again reminds us of our old friends Sleezy D, and perhaps even a little Kwaito in there too. It’s a shame you don’t get the strings on the instrumental version because these really make it a rather beautiful of compositions. A difficult trade off I’m sure you’ll agree. Respect going out to 16 Bit, and if you’ve come here from the Hype Machine looking for 16 Bit, we sincerely apologise. Mr. Tastemaker, please can we have a revival of this stuff?

Virtues of the Tweenage

Long gone are the shocking days of the unauthorized remix. Z-Trip’s work is done as mashups have gone from underground to the driving force of mainstream radio (at least here in Los Angeles). Even the video game DJ Hero only makes sense in a post-mash up world. Cultures no longer clash, but rather swirl together in a land where almost everything can co-exist lovingly. Internet Utopia. When everything is a webpage and no wikipedia entry is really any more accurate than the other, things start all feeling the same. And while it is nice that the completely boring pop divas of the 00’s have been slightly one-upped by Lady Gaga, we all know very well that Gaga’s glam doesn’t represent the common citizen any more than Beyonce’s overly insured legs. Meanwhile, 13 year old female singers are swinging on stripper poles for daddy and most can’t tell that ethics, in the least, are at least changing without a sound. In a world becoming the porn version of itself, the music category known as Tween is a strange pilot indeed. Perhaps Die Antwoord will save our souls the way Nirvana did, but in the meantime Sickboy points out the necessary obvious by creating Tweencore. Hard to call this satire or critique, but more just a breakcore essay on the State of Indifference.

Sickboy – Tweencore 6

As my esteemed colleague Brian rightly points out, the blatant and unauthorised appropriation of corporate-owned music recordings, as a musing or protest against perceivably draconian copyright laws is now an old tradition. However, these dusty scrolls of commerce designed to protect the musician, are still being used to control and exploit in ever more devious ways. And not just creators, but also appreciators. In an age where music blogs go missing in the middle of the night, and these hallowed texts are wielded to draft a bill that will essentially turn digital Britain into a police state, Sickboy’s sentiment is all the more relevant.

Although the music industry’s attitude towards illegal sampling and alleged plaigarism seems to have mellowed out since many of the infamous court cases, we still see examples of record companies flexing their legal muscles in order to make a quick buck. The idea that a band can be sued for unconsciously using a traditional riff embedded in a national psyche, in a track they wrote 32 years ago, when the original composer of the riff never sued them in her lifetime, is very difficult to define as anything other than exploitation. To me, it is indicative of an industry brought to its knees by uncontrollable free exchange, desperately trying to re-assert its control.

John Oswald – 2net

(this one is especially LOL given the napster incident)

As plunderphonic pioneer John Oswald argues in his essay Plunderphonics, or Audio Piracy as a Compositional Prerogative, respectful and adaptive plaigarism has been one of the main driving points of musical development since the year zero. And, as as there is no means for the muscian to adopt the system of quotation marks when referencing the work of others as there is in written language, by conspicously borrowing or homaging the recorded musical ideas of others, one is asking for trouble. If not the same troubles of old, then most certainly a snub from Auntie and other institutions. Of course there are some who do just outright steal the ideas of others, and everybody’s got to make a living, but use of other people’s work in our own compostions offers a path of inspiration and learning that our present system restricts. In his own words;

Professional developers of the musical landscape know and lobby for the loopholes in copyright. On the other hand, many artistic endeavours would benefit creatively from a state of music without fences, but where, as in scholarship, acknowledgement is insisted upon.

Written 25 years ago, his thoughts are propetic of the Creative Commons attribution license, a freer form of copyright law which enables this to happen, and something we shall be dabbling in very soon. In fact, my co-collaborator’s own Foot Village have already taken a very large step into this area with their Chicken and Cheese covers project and Anti-magic remix kits all licensed under CC available for you freely remix and sample, with the only priviso being that you let them hear the results.

V/VM – Goodbye

V/VM’s nihlism is sorely missed. Not having much internet in 2006 meant that I missed the V/VM 365 project, another pioneering Creative Commons project. 365 was an epic daily track giveaway with with intention of each piece being freely remixed of sampled by anyone and everyone. Given that some of source material for these tracks was copyrighted material, re-licensing it in this way creates an interesting conundrum. If one is to take a part of someone else’s record, tamper with it in some way, then relicense it under their own CC attribution, does this mean one is still liable to be sued? Now that we have the technology to retune every single note in recorded music so that it can become an entirely different compostion, will anyone even apply conventional copyright law to sampling any more? Is ‘Goodbye’ a Spice Girls song put through some effects, or is it an original piece?

My issue here is that, as Brian mentions, we now live in a culture where audio recycling is commonplace. And, as the laws that are supposed to prevent this haven’t changed, then we can only assume that a blind eye is being consistantly turned, especially given the promotional virtues of  the remix and mash-up. It is seemingly only when the coffers of the mainstream music industry are under actually under threat, or revenue can be generated from a court case, that this law is now applied.

My research into this whole area is in its infancy, but to put one’s money where one’s mouth is, I would like to credit the original piece I sampled for my track Jealous Swingers, you can find all the samples from 4.25 in. Can I suggest to others that they sample this too?  Can I license my own edited stem of this under Creative Commons for anyone else to sample instead? There’s only one way to find out.

This is my quotation marks BTW. I dearly love this song.

Black Ivory – Mainline

Although the V/VM 365 project was seen as a failiure by creator Leyland Kirby it was an awesome example to us all, and hopefully another prophecy of things to come. I doubt we will ever see the Beatles back catalogue enter the public domain, but we as creators of any kind are at least offered a different path by Creative Commons. And given the amount of unrecorded copyright violations that must now occur every second of every day through sampling, edits, remixes, and filesharing it is, perhaps, time for a bit of a rethink into this whole area that’s a bit more positive than Mandelson’s lockdown.

This has been a collaborative post between Brian Miller and Genuine Guy. I am not a lawyer and this post does not constitute legal advice. This one is going out to a most pluderphonic of chums.

Popular Fiction

Hi there. Genuine Guy here. On occasion, my merciful masters at 20jfg allow me a self-indulgent, first person persona in order to recount to you the real life yarns of my missionary adventures, and to bringeth ye the musics of my real life friends.

When not firing around their hive mind as series of electrical pulses, my earthly vessel is inclined to be a musician of sorts. Recently, said vessel was packed off to the mythical town of Berlin, on the new Government program of Compulsory National Service for Aspiring Artists (CNSAA).

A citadel of legend amongst the grubby peasants of the British villages, many pilgrims have returned with tales of a fantastical megalopolis floating in the sky, where every man, woman, child and animal speaks the empirical mother tongue with more eloquence than Stephen Fry. They say it could be easily conquered. They say that there, rhythmical foreign musics devoid entirely of melodic content pour out of every tavern, and when combined with the magical powders of the Polish alchemists, can enable a man to go without sleep for 3 whole days and nights.

Many also claimed to have bought an entire manorship for only one groat and, word has it, that a wondering minstrel can make a fine penny, without the humiliating supplementation of cleaning up pig swizzle. So without hesitation, I threw down my mop and set sail for the promised land.

As we step off the transport, I am greeted with a most terrifying sight. Soiled, famished artists are scattered across the streets amidst a clutter of human debris. Rabid sub-humanoid creatures, believed to have once been musicians roam dark alleyways. Intangible blobs of monolingual DNA with decent record collections ooze under club doorways. Crimson-eyed expatriated beasts, once handy with a pencil, hunt for warm flesh. Now only suitable for extras work in a David Cronenburg movie which is never going to be made, these once bright, creative souls scurry about trying to find a mouldy crust of bread to eat. A tear wells up in my eyepiece.

Concerned, I sit down next to the most apparently lucid of these specimens. Frothing through his blackened teeth he tells me that he was once a very rich man, earning several gold pieces from entertaining the king’s court. But since the invasion of the Troubadours he has not been able to earn so much as a thruppence happeny, and his only form of sustenance is from the scraps of unidentifiable, cylindrical meat he find traces of in white paper on the street.

Suddenly, we are set upon by a pack of ravenous conceptual artists. Too weak to move, my new friend tells me to save myself, as he is done for anyway. I run and I run and I stop, briefly to turn my i-pod up to 10, to drown out the horrific noise of them tearing his corpse apart.

Bad move. As the rest of them close in, I think about how much i miss my pigs and I prey that if I make it out of here alive, I will return to, and embrace their swizzle. I turn Sigor Ros up to 11. A feral man who looks likes he might once have been an actor takes a swipe at my face with his unsheared nails. I manage to dodge. Having never bothered to sort out health insurance, he raises his disease ridden arm again in order to end my naive existence. He is about to lunge when an arrow pierces his rotten torso. He drops to the ground to reveal a native girl, who proceeds to take every last one of them out with her bowstaff.

I thank her for saving me. She speaks English. At least one part of the prophecy was true. She tells me that in order to not perish here, I must learn the language and the ways of her people. We travel back to her village on the u-bahn, and I learn of a land once divided that has now learnt to live in relative peace and unity. If only my people could do the same.

Over time, I slowly integrate into her tribe and we fall in love.

Just as we are about to kiss, my earthly vessel becomes lifeless and drops to the ground. I wake up in a control room in London. I am surrounded by guys from the CNSAA wanting to know what they can glean from this place, and how they too can score with the natives. Turns out the whole operation is a huge Government conspiracy, and they are planning to ship every single creative in the UK out there so they don’t have give 2 swizzles about them themselves.

I tell them where to stick it and manage to escape to Clunes house.

Artwork by Tim Hill

Clunes is a band consisting of members of The Human RACE and Tom James Scott. Steadily, they entertain the London improv circuit and beyond, and you can occasionally see them at shows put on by our pals Upset the Rhythm. Operating in the same eccentric sonic realm of the British Empire first colonised by the Radiophonic Workshop in the late 50’s, it is our pleasure to present them to you today.

Clunes – Thru the Weeds

Thru the weeds is the sound of Black Dice awaking in 60s London. Hoping on the routemaster bus they attend a lecture by Unit Delta Plus. The result is this charming psychedelic banger that would like to be friends with you here today. An intense, insectoid stomp that, if nudged up a few beats per minute, wouldn’t sound out of place in the abstract techno clubs of Berlin. They asked me if I could do this for them, but it already sounds like a finished classic which I would only ruin through tampering.

So instead I did this with something from the parcel they gave me. This is a demo, incidentally. Its destiny is as yet unknown.

Clunes and Genuine Guy – Finality 2

We are presenting this to you today as the first step into a new, collaborative phase for 20jfg. Here, through a process of filesharing we have unwittingly managed to produce something we would never have come up with on our own. Whether or not the resulting piece is a success, is entirely up to you. But the very idea of this kind of collaborative process thrills me in a way conventional remix does not. Because in the words of my benefactors, we can learn much from each other. And, when we engage directly with each other’s ideas and techniques in this way, we can learn even more.

More details on this project to come, but for now, as we are currently in the radiophonic realm on this most radiophonic of webzines we must pay homage to its creator.

Daphne Oram’s slight omission from the legend of electronic music development is a mystery to me. Maybe it was because she was forced to leave the Workshop and spend the rest of her career tinkering in her bedroom. Perhaps it is because she was not also an important academic like Pierre Schaffer (although she did write books and give on the subject). Maybe it was because she was a woman working in the male dominated area of musique concrete in the male dominated area of post-war Britain. Whatever the reason, I leave you with the notion that this lady was a total genius. Here, her rock n roll tinkering ultimately bringing us some kind of proto drum n bass.

Daphne Oram – Snow

Snow is taken from the definitive compilation of her work ‘Oramics’ which has been out for a couple of years now but is well worth getting hold of. Check clunes myspace for a discog and you can probably buy some things direct from them.

This post is dedicated to all the good people of Berlin and Jacques Attali.

The Reunion Special

Hello. My name is Genuine Guy. One day, whilst lost in the dark forests of Neukölln I encountered a wise sage who entrusted me with a password. It was the password to a realm I once inhabited but had left behind, drawn away like a magpie, by the treasure of another. The treasure proved to be real, but in order to keep it, it was required of me to sacrifice 2 of my 3 dimensions, and my capacity for rational thought. I managed to escape from the operating table, ran to the nearest glowing terminus and entered the password. And so here I find myself. I hope to re-encounter this sage sometime soon, as he has rescued me. But here I give thanks to him as I know he reads this blog (the forest has WI-FI).

But there is a 3rd realm in this story. One also left behind, but not forgotten.

To be any kind of bohemian in London these days requires a bold, resourceful attitude. Or a shitload of money. Not being blessed with the latter, my beloved and sorely missed ex-flatmates are both shining examples of the former.


Separated only by a thin sheet of plasterboard, the embryonic stages of London’s Hype Williams was a daily occurrence in my life for several months. Their rapid metamorphosis, from initial stabs at guitar based slo-mo Americana to full blown, freeform art-project (now featuring floating members of 20JFG faves, Arch M and Hounds of Hate) has been truly outstanding. They told me they didn’t have anything interesting to say. But their re-contextualization of things absorbed whilst growing up and living in a messed up, multicultural capital lends their work an extra significance, that perhaps they are not aware of.

Hype Williams – mvp ’94

MVP ’94 is a hook laden access point to the more, seemingly unwitting, profound depth and experimental nature of their world. Here, the cold detachment and bass driven musics of London are assimilated and regurgitated via a genuinely DIY aesthetic, the harmonius echo-chambers of Telepathe or Gang Gang Dance and played back at the downer-induced tempo of DJ Screw. Music aside, the skewed appropriation of misogynist booty house lyrics via female vocals, is alone, a very bold and interesting statement.

Hype Williams – Feltt

More recently, lyrics are abandoned. Here, in favour of an indecipherable emotive incantation, lending a voice of hope to the hauntingly skeletal and astrally bleak post-punk dronescape beneath. Hype Williams aka Paradise Sisters have just dropped a new tape which you can buy here. Keep an eye on Ceylan Projects for news of many exciting things, involving members of the band and their affiliates.


Apart from sharing a building, the art of my ex-roomies is connected via a natural talent to reinvent certain racial stereotypes. Often incorrectly labelled as Riot Grrl, because there’s an apparently angry ‘girl in the band’ (dude, get over it) Akiko from Comanechi, attempts to stand against certain ideas about her national identity as a female, rather than just being a female. Although influenced by the music (but not necessarily the politics) of Bikini Kill et al, Comanechi are straight-up, balls out rock-stars, an exhilarating, and highly sexual (again, sex not politics) collision of j-pop and doom metal. Here, as the rather more 20JFG-worthy, and awesome Ghosthunter remix has been posted elsewhere, I present to you my own take on their music. I was handed a very beautiful song and could do nothing more than add a different backing. Lost on the GG storage device for a whole year, it is my gift to you. Their debut album is out now on Merok.

Comanechi – Close Enough to Kiss (Genuine Guy remix)

If this post seems rather nepotistic and self-promoting, I can assure you I am here for neither reason. I will be posting many things that I and my friends have made, altered, collaborated or just generally been involved with over the coming months as the beginnings of a possible new dimension for the blog, and the many characters in the 20JFG universe. This project is still in the research stages and will be unveiled soon.

In the meantime, as a further peace offering to you, the xxjfg reader, for such a long period of neglection, I give you this mix. Nothing you haven’t heard before, just a bunch of stuff that in my mind works very well together. It’s good to be back.

Genuine Guy – 20jazzfunkgreats mixtape 1


1. Terry Riley – You’re No Good
2. Rekid – 85 Space
3. Siriusmo – Wow
4. Natasha ft Clipse – So Sick
5. Flying Lotus -Melt
6. Slyvester – I Need Somebody to Love Tonight
7. Scotti Coats – Lude Boy the Rude Boy
8. Pan Sonic – Puhdistus
9. Cluster – Kekse
10. Bottin – Endless Mother

In the beginning…

Was the room.
And that room was sweaty.
And dark.
And loud.
People stayed up all night.
And lo,
it was good.


20JFG cohort and all round winner Genuine Guy pops back into our lives with this sly deconstruction of the all that’s big and fun and slightly silly about dance music.  The hubris of the edited sample that opens Jealous Swingers gives you a quick wink before diving headlong into all manners of house…or rather disco wobble.  There’s something enormously affectionate about the dance music tropes employed here.  Nothing’s out of place as you pick up snatches of (early) house, acid, even a spot of Mr Oizo snare.  It’s playful without being redundant parody.  More importantly it’s addictive.  The synth line that comes in at 2:41 (after the break) hits that pure streak of joy that great dance music seems able to mine indefinitely.

Genuine Guy – Jealous Swingers

Here’s Genuine Guy’s fantastic (self produced) music video for Jealous Swingers.  The Jealous Swingers EP is out this Autumn on Tigerbass.


20JFG’s affection for Mr Jones has been well documented on these pages over the years and this track reaches back to the dawn of this webzine.  It was in 2004 that he managed to rope in both Dajae and his own alter ego, Green Velvet, to produce one of this humble writer’s all time favourite house records.  Everything about this speaks to the simple ecstasy of dance music.  The pieces are spare and introduced just in time.  Allowed their moment to dance around your head before taking their place in the mix as the next electronic sound drifts in.  Like a procession of hooks lifting you higher as the track progresses before floating away in a fog of snares before THAT reprise blows all the smoke out of the room in a full bore battery of lasers and irresistible basslines.

It’s fair to say that not many records can make your reserved 20JFGer put his hands in the air…in his bedroom.
But every,

Cajmere ft. Dajae – I Need You (Green Velvet remix)


Berlin based readers – see Genuine Guy doing the dark music loud room thing this Saturday at Raum 18: