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DEDGE 001CD
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Prominent Brazilian club D-Edge are happy to announce the launch of their compilation series Cutting Edge with an album compiled and mixed by long-standing house producer, DJ and Classic label co-boss, Luke Solomon. In this day and age, some could ask, what's the point of releasing a mixed collection of tracks in a solid, physical format? After all, with the availability of podcasts and DJ mixes throughout virtual space, it is surely a sisyphean task to try and make a statement through any other media -- but that's exactly the point of a compilation that holds not only authorship, but also a purpose. And not a trivial one: it is meant to stay, to exceed any shelf-life and avoid being adrift in the flood of novelty and disposable material that strikes the musical universe in the internet era. This is a mixed compilation, one that cuts deep, that leaves traces behind, scars. The kind of indelible memento that both D-Edge Records and Luke strive to create in each release. Proving he has his finger firmly on the pulse of the modern electronic scene, Luke's mix is a taut selection of moody and broody house and techno. It skillfully snakes its way though sultry vocal stuff, tightly wired synths and bare machine grooves of a decidedly timeless nature. Contemporary names like Kink, Neville Watson and Kris Wadsworth sit next to the more mature likes of Chicago's Boo Williams: the result is always engaging and never obvious. With D-Edge's reputation for futuristic clubbing experiences, this finely-mixed selection from Luke Solomon is as fresh as you'd expect. Other artists include: This Grand Corporation (feat. Jeremy Glen), The Digital Kid, Red Rackem, Crooked Man, Scope (feat. Terry Grant), Roberto Rodriguez, Jonny Fiasco, Andy Meecham, Iz & Diz, Trademarq, Bret Johnson and Duckbeats.
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REKIDS 002CD
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This is the first solo full-length record by London's Luke Solomon, who co-runs the Music For Freaks and Classic record labels alongside Justin Harris and Derrick Carter, respectively. When Luke Solomon's name is mentioned, it's quite often in reference to his band The Freaks, his pioneering record labels, or his legendary DJ performances. Very rarely do people think of Luke Solomon the solo producer. Get ready for all that to change, because this is one of the most interesting, complex and diverse pieces of electronic music heard in a long time, featuring contributions from musicians such as Robert Owens, Derrick Carter, Earl Gateshead and Nathan Haines. As Solomon himself explains: "The title came about from a book by William Gibson, which in turn came from one of the first computers built by Babbage. Originally, I wanted to make a DJ mix of original music. The reason for this being that an album of dance music as separate tracks is a really tricky thing to do well. The audience has changed and people's tastes have changed, so by bridging that gap I felt I could essentially keep people's interest while they were doing the cooking at home, while they were getting ready to go out, and of course, keep the DJs happy too. I also wanted it to emulate my taste in electronic music both past and present. Taking inspiration from early deep house records, alongside '80s punk-funk, acid house, of course, and the more current, produced electronic sound. Once I had that in my head, I then wanted to add musicians that I respected and wanted to work with." Luke began his professional DJ career in 1990 with a residency at Middlesex University, which is where he met cohort Justin Harris. He later went on to work with the highly influential Rob Mello and Kenny Hawkes at Freetown Records where he met a certain Derrick Carter. After realizing they shared a similar vision for house music, they co-founded a label and dominated the underground house scene for a decade. The Difference Engine is a deep trip, focusing on the mind just as much as the body.
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