ATJAZZ 黑胶唱片和CD

Review: UK nu-jazz/broken beat Maestro Martin Iveson aka Atjazz returns with more properly soulful and emotive deep house music on his new epic "Tear". Featuring all the hallmarks of his idiosyncratic sound, the original features soothing melodic tones, intricate rhythm arrangements and an all-round evocative feel. On the B side are two terrific remixes: UK producer Soulfuledge serves up a dreamy and hypnotic rework that will mix in well with your All Day I Dream/Tale + Tone records. Iveson looks further North to Peacey as he delivers an ethereal and sensual remix equally suited to all the daydreamers out there.

Review: Earlier this month, deep house veteran Martin "Atjazz" Iveson put out a compilation of untitled, single-track missives originally recorded and released via his Bandcamp page over a ten-month period. That was called Mix 1; Mix 2, his latest album, boasts new, previously unreleased versions of the same tracks. There's naturally plenty to enjoy throughout, from the clandestine tech-house throb of "Track 1 (Mix 2)" and "Track 2 (Mix 2)", and dubbed-out flex of "Track 4 (Mix 2)", to the bouncy positivity and sumptuous synthesizers of "Track 8 (Mix 2)", and the woozy, understated late night hypnotism of the album's closing cut, "Track 10 (Mix 2)", which sounds like it was designed for early morning sets in dark Berlin basements.

Review: 2016 celebrated 20 Years of Atjazz, where Martin Iveson's Atjazz Record Company re-released his 1988 debut album that featured some bonus tracks and remixes. Now in conjunction with Record Store Day 2017, we have remastered originals and remixes alike on offer here with this limited version. The master Charles Webster works his magic as always on the truly deep and sublime rework of "Slide It In" which we didn't think could be beat in its original version. "Dark Slide" and "Ghost Spaces" appeared on the album version also, but hearing them here you truly realise just how timeless Iveson music really is.

Review: Martin 'Atjazz' Iveson continues to celebrate notching up two decades in deep house, this time via an expanded reissue of his largely overlooked 1999 debut album, That Something. The album originally appeared on DIY Discs offshoot DIYersions, and saw Iveson combining his love of tactile, atmospheric deep house with jazzy keys, and the kind of sublime synthesizer sounds he later explored more extensively on 2001 full-length Labfunk. This reissue contains two discs of obscure and previously unheard bonus material. CD2 contains unreleased archive material recorded between 1995 and '98 - including some especially good downtempo gear - while CD3 features alternative versions, bonus cuts from 12" singles, and a smattering of tasty remixes. That it all still sounds fantastic is testament to Iveson's impeccable production skills.

Review: This year marks two decades since Martin 'Atjazz' Iveson put out his first 12" single. That he continues to deliver high-grade, soul-flecked deep house is testament not only to his skills, but his staying power. With this EP, he had little to do but put his feet up, as Kaytronic and Peacey took it in turns to rework last year's "Fox Tooth". The former kicks things off, combining heavy analogue bass, tech-tinged beats (think classic Swag) and creepy, late night textures. Peacey takes a different approach, teasing out the inherent sweetness of Iveson' synth work on a bouncy revision that makes excellent use of an extended breakdown.

Review: Local Talk turn to a respected elder statesman of Swedish electronic music for their latest 12" transmission, with Martin 'Atjazz' Iveson responding by delivering perhaps the heaviest record in the label's discography to date. If you've indulged in a record from Atjazz before, you'll know Iveson has a masterful understanding of melody and sequencing and that's on full display here. There's a real vibrancy to the cascading synth lines and a thumping house groove on "Fox Tooth" that should work wonders on a dancefloor. Switching the vibe up, the Galaxy Aart Dub from Atjazz opts for a more broken slant on the deep house sound and represents a fine B-side.

Review: Martin Iveson (aka At Jazz) needs no introduction. From his early releases on DIY to his latest offerings for Innervisions and his own Mantis, he has always shown a very distinctive sound which has the word 'class' written all around. "Looking Glass" is a top Reincarnation release.

Review: This is a new instalment from one of the hottest house labels around at the moment, which happens to be the Innervisions offshoot of Sonar Kollectiv This one is a lovely deep and warm house number with some innovative tekky elements and a remix on the flip coming from Version, which is a new collaboration between Charles Webster and Martin Iverson Mixes original Mix/ Version MixDerby-based house producer Martin Iveson aka Atjazz found his feet making music for the computer games industry. He single-handedly wrote the music for multi-million selling arcade game Tomb Raider. This success early in his career enabled him to set up his own studio and the label Mantis Recordings which he co-owns and was featured on the Slices DVD in 2005. For Real is the latest hot Atjazz production. And the B-side of the latest in the Sonar Kollektiv sub-label Innervisions 12" series is a fantastic version remix of the massive track.

Review: There's currently a vogue for modern artists reworking the work of soul legends. One of our favourites from said crop has to be this 12" by nu-jazz and broken beat mainstay Atjazz, whose latest efforts come in the form Nina Simone cover, 'See-Line Woman'. Working with Dominique Fils-Aime - a Montreal singer-songwriter noted for taking inspiration from soul icons from the 40s and 60s like Simone and Billie Holiday - the result is a smooth, subdued take on the original Simone B-side. Happier light is shed on a song that originated as a 19th-Century African American folk song for sailors and sex workers.

Review: ***B-STOCK: Creasing to corner of outer sleeve, product unopened & in excellent condition***


There's currently a vogue for modern artists reworking the work of soul legends. One of our favourites from said crop has to be this 12" by nu-jazz and broken beat mainstay Atjazz, whose latest efforts come in the form Nina Simone cover, 'See-Line Woman'. Working with Dominique Fils-Aime - a Montreal singer-songwriter noted for taking inspiration from soul icons from the 40s and 60s like Simone and Billie Holiday - the result is a smooth, subdued take on the original Simone B-side. Happier light is shed on a song that originated as a 19th-Century African American folk song for sailors and sex workers.

Review: Shortly after the stunning "For Real" - Innervision 07 - contribution, Atjazz returns with his first release on his own label Mantis Recordings for some time. "Put It On" is the first single from his forthcoming album "Full Circle" and a fantastic homecoming it is. The Atjazz album is almost complete with collaborations from superproducer Charles Webster, appearances from many fine musicians, and an outstanding line-up of vocalists. As well as Ernesto, Martin Iveson (Atjazz) has worked on "Full Circle" with Clara Hill, Sarah-Jane Morris, Dawne B, Charlie Dark and Mr J, all delivering stunning performances. Plus there's some mighty word wielding from Cee-Rock the Fury and Hernandez.

Review: Remixes of Atjazz's 'Love Someone' on Mantis by Sonar Kollektiv's Slope.

Review: Originally released back in 2018, this collaboration between UK broken beat/nu-jazz pioner Martin Iveson aka Atjazz and rising South African deep house star Jullian Gomes was featured on their full length album Big Bad Crazy. The track in focus, "Love Me" in its original form is a glassy-eyed and heartfelt affair, accentuated by immersive dub chords and powerful symphonic arrangement. It gets the Kaytronik treatment on this 12", and if the name sounds familiar that's because it's the alias of legendary Baltimore producer Karizma. A side houses the stripped down and hypnotic "Kaytronik Difibrillator Dub" that works those orchestral sounds really well against dusty barebones rhythms, while "Kaytronik Difibrillator Beats" on the flip sees him serve up a handy and functional bass-driven dub for DJ use.

Review: Atjazz chief Martin Iveson teams up with South African producer and label staple Jullian Gomes for a collection of sublime hi-tech soul expressions on the second part of the Big Bad Crazy album. It follows on five years after their exceptional debut collaboration The Gift The Curse and 'points out the broken state of our world, and .. the ongoing struggle to make it through the pain.' Indeed, they're all emotive offerings here: from the life-affirming daydream fantasy of "Decoded", the perfect chord progressions on "Don Esquire" (sure to get everybody's hands in the air) right through to the mysterious dancefloor drama of "Love Me". Here's to hoping it's not another five years before the pair choose to collaborate once more.

Review: It's been six years since Martin "Atjazz" Iveson started mentoring South African producer Jullian Gomes, and five since they last released any collaborative material. Perhaps they shouldn't have left it so long, because the material showcased here is exceptionally good. The standout for us is undoubtedly breezy soulful deep house jam "It's My Time", though EP opener "Daggers Drawn", a suitably symphonic and musically complex cut that pairs atmospheric orchestration and electronics with a snappy, tech-house beat, is almost as inspired. Elsewhere, "Blow By Blow" is a spacey and woozy number rich in broken house beats, and "The Pursuit" is a swinging, triple time workout that draws heavily on Gomes' South African heritage.

Review: Derby-based deep house, broken beat and synth-soul veteran Martin Iveson (AKA Atjazz) first teamed up with South African producer Jullian Gomes last year, on the well received, ocean-deep broken house jam "Overshadowed". Clearly, the duo has an excellent working relationship, as they've penned an album together. Featuring an impressive list of guest vocalists - including Osunlade, Robert Owens and Wummi - The Gift The Curse is an impressively deep and soulful exploration of both producers' influences, slinkily moving between atmospheric deep house, comfy broken beat, synth-laden nu-jazz and, memorably, deep acid (see "Awi"). As you'd expect from Atjazz, it's extremely well polished, but effortlessly soulful, too.

Review: Yellow Jackets is a brand-new series of limited-edition 12" singles from Verona's Mother Tongue label, with each release sporting "carefully selected" tracks with a dancefloor purpose. On volume one, they've dipped into the vaults of Martin 'Atjazz' Iveson, offering vinyl debuts to two tracks released digitally at the start of the last decade. Side A sports Iveson's jazz-funk flavoured roller 'Sweat No Sleep (Club Mix)', a deliciously spacey, fluid and colourful collaboration with keys-man Mark De Clive-Lowe powered by Afro-house inspired beats. Over on the flip there's a chance to savour Aybee's overlooked rework of 'Common Question' by Iveson side project Mist Works, a rubbery chunk of tech-tinged, heavily electronic deep house hypnotism.

Review: A little more than two years after the release of her debut album 'Restless Times', Clara Hill steps ahead with 'All I Can Provide'. While her first album was an excursion into the depths of electronic soul, 'All I Can Provide' is furthering her vocal journeys while mirroring the various musical styles that Clara is passionate about. Naturally, there's a broad range of genres to be found: Deep house and boogie, jazz ballads as well as folk oriented songs vibrate on 'All I Can Provide'. It's a bit like listening to a excellent mix tape, with Clara's splendid voice as the mistress of ceremony. 'For All I Can Provide' she has collaborated with such renowned artists as Atjazz, Vikter Duplaix, Charles Webster, Slope, Sandboy (Tobias Meggle), Volker Meitz and Georg Levin. Except for the tracks produced by Atjazz, Sandboy, Vikter Duplaix, Charles Webster and King Britt, most of the album's other tracks were co-produced by Clara Hill. Previous collaborators of Clara Hill include Jazzanova and Masters At Work. Clara Hill has also sung for Stereoton.

Review: A little more than two years after the release of her debut album 'Restless Times', Clara Hill steps ahead with 'All I Can Provide'. While her first album was an excursion into the depths of electronic soul, 'All I Can Provide' is furthering her vocal journeys while mirroring the various musical styles that Clara is passionate about. Naturally, there's a broad range of genres to be found: Deep house and boogie, jazz ballads as well as folk oriented songs vibrate on 'All I Can Provide'. It's a bit like listening to a excellent mix tape, with Clara's splendid voice as the mistress of ceremony. 'For All I Can Provide' she has collaborated with such renowned artists as Atjazz, Vikter Duplaix, Charles Webster, Slope, Sandboy (Tobias Meggle), Volker Meitz and Georg Levin. Except for the tracks produced by Atjazz, Sandboy, Vikter Duplaix, Charles Webster and King Britt, most of the album's other tracks were co-produced by Clara Hill. Previous collaborators of Clara Hill include Jazzanova and Masters At Work. Clara Hill has also sung for Stereoton.

Review: Southport Weekender has being going so long, it's almost part of the fabric of British dance music. Their accompanying mix series holds similar status, and here reaches its tenth installment. On the first disc, Miguel Migs offers some love from San Francisco, stitching together a typically deep, fluid and quietly soulful selection, incorporating fine tracks from Waze & Odyssey, Tortured Soul and Andre Crom, as well as plenty of his own remixes. Even better is the second disc, mixed with great panache by Derby-based synth fetishist Atjazz. He predictably takes a jazzier approach, impeccably joining the dots between modern soul (Leon Ware), space boogie (Logg's brilliant "Dancing Into The Stars"), nu-jazz (4Hero), latin beats (DJ Graham B's fantastic "Samba Madness") and, of course, super-deep house.

Review: Compost's Black Label offshoot presents the first of several remix EPs tackling the veritable bounty of deep house delight that formed last year's double CD album from Chicago House's greatest voice Robert Owens. Art featured a whole host of established names across the nineteen tracks including Larry Heard and Beanfield - thus there is plenty of potential with regards to future remixes. The first round of varied remixes come courtesy of Steve Bug, DJ Le Roi, Migumatix, 20:20 Vision's Tom Taylor & Gareth Whitehead. Le Roi adds some reverberant rhythmic urgency to the Owens & Atjazz collab "Moments" whilst Migumatix embellishes the Mr. Fingers reunion that is "Be Your Own Hero" with some rather tasty 303 jacking hits. The hypnotic qualities of this remix just edge out Bug's stripped down take on "Rise".